Eva Forgacs – författare
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8 produkter
8 produkter
Häftad, Engelska, 2003
485 kr
Skickas inom 3-6 vardagar
Contemporary Jewish Writing in Hungary features works by twenty-four of Hungary's best writers who have written about what it means to be Jewish in post-Holocaust Eastern Europe. This volume includes work by Nobel Prize winner Imre Kertész and other internationally known writers such as György Konrád and Péter Nádas, but most of the authors appear here in English for the first time. This anthology features poetry, long and short stories, and excerpts from memoirs and novels by postwar writers. Some of these authors were well known in Hungary before World War II, some were children or adolescents during the war and began publishing in the 1970s, some were born to survivors in the years immediately following the war and grew up during the decades of Communist rule, while others started publishing chiefly after the fall of Communism in 1989. Unique among Eastern European countries, Hungary still has a large and visible Jewish population, many of them writers and intellectuals living in Budapest. This anthology introduces English-speaking readers to outstanding works of literature that show the wide range of responses to Jewish identity in contemporary Hungary. The editors' introduction provides a historical and critical context for these works and discusses the important role of Jews in Hungarian culture from the late nineteenth century to the present.
Inbunden, Engelska, 2022
1 417 kr
Skickas inom 5-8 vardagar
This book examines the legacy of international interwar modernism as a case of cultural transfer through the travels of a central motif: the square. The square was the most emblematic and widely known form/motif of the international avant-garde in the interwar years. It originated from the Russian artist Kazimir Malevich who painted The Black Square on White Ground in 1915 and was then picked up by another Russian artist El Lissitzky and the Dutch artist Theo van Doesburg. It came to be understood as a symbol of a new internationalism and modernity and while Forgács uses it as part of her overall narrative, she focuses on it and its journey across borders to follow its significance, how it was used by the above key artists and how its meaning became modified in Western Europe. It is unusual to discuss interwar modernism and its postwar survival, but this book’s chapters work together to argue that the interwar developments signified a turning point in twentieth-century art that led to much creativity and innovation. Forgács supports her theory with newly found and newly interpreted documents that prove how this exciting legacy was shaped by three major agents: Malevich, Lissitzsky and van Doesburg. She offers a wider interpretation of modernism that examines its postwar significance, reception and history up until the emergence of the New Left in 1956 and the seismic events of 1968.
E-bok
PDF, Engelska, 2022466 kr
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This book examines the legacy of international interwar modernism as a case of cultural transfer through the travels of a central motif: the square. The square was the most emblematic and widely known form/motif of the international avant-garde in the interwar years. It originated from the Russian artist Kazimir Malevich who painted The Black Square on White Ground in 1915 and was then picked up by another Russian artist El Lissitzky and the Dutch artist Theo van Doesburg. It came to be understood as a symbol of a new internationalism and modernity and while Forgács uses it as part of her overall narrative, she focuses on it and its journey across borders to follow its significance, how it was used by the above key artists and how its meaning became modified in Western Europe. It is unusual to discuss interwar modernism and its postwar survival, but this book''s chapters work together to argue that the interwar developments signified a turning point in twentieth-century art that led to much creativity and innovation. Forgács supports her theory with newly found and newly interpreted documents that prove how this exciting legacy was shaped by three major agents: Malevich, Lissitzsky and van Doesburg. She offers a wider interpretation of modernism that examines its postwar significance, reception and history up until the emergence of the New Left in 1956 and the seismic events of 1968.
466 kr
Läs direkt efter köp
This book examines the legacy of international interwar modernism as a case of cultural transfer through the travels of a central motif: the square. The square was the most emblematic and widely known form/motif of the international avant-garde in the interwar years. It originated from the Russian artist Kazimir Malevich who painted The Black Square on White Ground in 1915 and was then picked up by another Russian artist El Lissitzky and the Dutch artist Theo van Doesburg. It came to be understood as a symbol of a new internationalism and modernity and while Forgács uses it as part of her overall narrative, she focuses on it and its journey across borders to follow its significance, how it was used by the above key artists and how its meaning became modified in Western Europe. It is unusual to discuss interwar modernism and its postwar survival, but this book''s chapters work together to argue that the interwar developments signified a turning point in twentieth-century art that led to much creativity and innovation. Forgács supports her theory with newly found and newly interpreted documents that prove how this exciting legacy was shaped by three major agents: Malevich, Lissitzsky and van Doesburg. She offers a wider interpretation of modernism that examines its postwar significance, reception and history up until the emergence of the New Left in 1956 and the seismic events of 1968.
Häftad, Engelska, 2023
435 kr
Skickas inom 10-15 vardagar
This book examines the legacy of international interwar modernism as a case of cultural transfer through the travels of a central motif: the square. The square was the most emblematic and widely known form/motif of the international avant-garde in the interwar years. It originated from the Russian artist Kazimir Malevich who painted The Black Square on White Ground in 1915 and was then picked up by another Russian artist El Lissitzky and the Dutch artist Theo van Doesburg. It came to be understood as a symbol of a new internationalism and modernity and while Forgács uses it as part of her overall narrative, she focuses on it and its journey across borders to follow its significance, how it was used by the above key artists and how its meaning became modified in Western Europe. It is unusual to discuss interwar modernism and its postwar survival, but this book’s chapters work together to argue that the interwar developments signified a turning point in twentieth-century art that led to much creativity and innovation. Forgács supports her theory with newly found and newly interpreted documents that prove how this exciting legacy was shaped by three major agents: Malevich, Lissitzsky and van Doesburg. She offers a wider interpretation of modernism that examines its postwar significance, reception and history up until the emergence of the New Left in 1956 and the seismic events of 1968.
Häftad, Engelska, 1995
686 kr
Skickas inom 10-15 vardagar
Forgacs examines the development of the Bauhaus school of architecture and applied design by focusing on the idea of the Bauhaus, rather than on its artefacts. What gave this idea its extraordinary powers of survival? Founded in 1919, with the architect Walter Gropius as its first director, the Bauhaus carried within it the seeds of conflict from the start. The duration of the Bauhaus coincides very nearly with that of the Weimar Republic; the Bauhaus idea - the notion that the artist should be involved in the technological innovations of mechanization and mass production - is a concept that was bound to arouse the most passionate feelings. It is these two strands - personal and political - that Forgacs so cleverly interweaves. The text has been extensively revised since its original publication in Hungarian, and an entirely new chapter has been added on the Bauhaus's Russian analogue, VkhUTEMAS, the Moscow academy of industrial art.
E-bok
Engelska, 2023330 kr
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An engaging and insightful collection of essays and rarely-seen imagery that traces the development of modernism in Hungarian art, from birth to maturation and through several generations. Written in an accessible way for an international audience and reflecting on socio-political currents. This wide-ranging collection by Éva Forgács, a leading scholar of Modernism, corrects long-standing misconceptions about Hungarian art while examining the social milieu and work of dozens of important Hungarian artists, including László Moholy-Nagy and Lajos Kassák and looks at several permutations of modernism, from the avant-garde to neo-avant-garde. A fascinating portrait of twentieth-century Budapest emerges from the book, which shows how it became a microcosm of the social and political turmoil raging across twentieth-century Europe. Forgács''s text is as much a cultural history as it is a deeply satisfying dive into one country''s unique art history.
Häftad, Engelska, 2017
283 kr
Tillfälligt slut
Insightful essays and rarely-seen images tracing, from birth to maturation, several generations of Hungarian modernism, from the avant-garde to neo-avant-garde. This wide-ranging collection by Eva Forgacs, a leading scholar of Modernism, corrects long-standing misconceptions about Hungarian art while examining the social milieu and work of dozens of important Hungarian artists, including Laszlo Moholy-Nagy and Lajos Kassak. This book paints a fascinating image of twentieth-century Budapest as a microcosm of the social and political turmoil raging across twentieth-century Europe. Eva Forgacs is a brilliant guide to the history of modern and contemporary art in Hungary. These essays--whether appraising the achievements of Modern Movement heroes like Laszlo Moholy-Nagy or excavating the overlooked practices of neo-avant-garde artists of the 1970s and 1980s--combine deep understanding of modern art with a critical perspective on the many myths which have been attached to it. Hungarian modernism now seems far more vivid.--David Crowley, Royal College of Art The leading English-speaking expert on Hungarian art from the avant-garde of the pre-World War I years to the present, Forgacs is as astute in confronting Hungarian politics and the nation's cultural development as she is at elucidating the nature of the artworks themselves. A dazzling intellectual performance. -- Marjorie Perloff, author of Wittgenstein's Ladder and The Vienna Paradox Eva Forgacs has a remarkable ability to condense her cosmopolitan breadth of scholarship into admirably coherent, easily comprehensible writing...We come away with the feeling that our time has been well spent indeed. Her publications exemplify art history at its best. --Hattula Moholy-Nagy Forgacs' essays are shafts of light illuminating a complex terrain which is not only located at the center of Europe but, given the seismic political shifts that have occurred there, central to the history that defined the 20th century. --J. Hoberman, author of The Red Atlantis: Communist Culture in the Absence of Communism A pioneering intellectual survey of Hungarian art in the long twentieth century.Populated by extraordinary figures such as Bela Balazs, whose dream of a great new Hungarian culture amounted to the founding of a new "religion of art," this authoritative book repositions cultural giants such as Laszlo Moholy-Nagy, Lajos Kassak, and Gyorgy Lukacs within a series of fascinating interpersonal, philosophical and political fields. Forgacs also entices readers to engage with a host of less well known artists and forgotten initiatives: the European School; the transcendentalist revivers of Malevich; the exponents of the postmodern 'new sensibility' of the 1980s; the post-socialist post-constructivists of the 1990s. She challenges canons and attacks key questions head on, provocatively exploring, among other things, whether or not "democracy grows under pressure." The culmination of decades of sustained research, this erudite publication is an immensely precious resource and a vital contribution to the further exploration of the rich intertextual fabric of European art as a whole. -- Klara Kemp-Welch, Courtauld Institute of Art