Stella Rollig – författare

Hannah Höch (1889–1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital’s vibrant Dada scene of the 1920s. Höch broke with the traditions of representation and vision. Her works dissected a world marked by the catastrophe of the Great War and an intense consumer culture, and reassembled it in revolutionary, poetic, and often ironic ways. Höch kept to her artistic means and her poetic-radical imagination, shimmering between social observation and dream world, even in the post-WWII period. Scissors and glue were the weapons of her art of montage, of which she was a co-inventor.Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch’s art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch’s fascination with film and the visual culture of the modern industrial age. It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde such as Sergej Eisenstein, Raoul Hausmann, László Moholy-Nagy, Walter Ruttman, Kurt Schwitters, Theo van Doesburg, and Dsiga Wertow, have their say, rounds out the volume.

A beautifully illustrated look at the works of Anni Albers with a focus on the architectural dimensions of her work  Anni Albers (1899–1994) has long been revered as a trailblazing weaver, textile designer, and visual artist; she also was an insightful and eloquent writer, and her books On Designing and On Weaving are canonical writings in design history. Anni Albers: Constructing Textiles explores the ideas of materiality, construction, and architecture across her body of work, establishing her legacy as a thinker, theoretician, and innovator.  The book’s essays include essential writings by Albers herself on the making and meaning of textiles, as well as new pieces by Glenn Adamson on her relationship to architecture, Karis Medina on the material and technique of her weavings, Amy Jean Porter on her writing, and Jeffrey Saletnik on East Asian influences in Albers’s work and thinking. Among the book’s hundreds of beautifully reproduced images are works held in private collections that have never before been published. An essential volume in the literature about modernism, this book reinforces Albers’s position as a leading figure in twentieth-century art.  Exhibition Schedule:  Zentrum Paul Klee, Bern, SwitzerlandNovember 7, 2025–February 22, 2026Unteres Belvedere, Vienna, AustriaApril 30–August 16, 2026

Liat Yossifor's first artist monograph focuses on a series of ever-evolving grey paintings she produced from 2011-2016. Employing a time-based process to create these works, she continuously scrapes, sculpts, and re-works the paint until it hardens on the surface. Of the works here, Yossifor has said, "The grey is so much more for me. The grey is the result of color being consumed, of constant editing. The grey is the result of a thousand paintings that got destroyed in the process of making a single one." Yossifor was recently profiled by Modern Painters as an artist to watch for 2016 and this year has exhibitions in New York; Frankfurt, Germany; Guadalajara and Chicago. The book includes essays by Karen Lang, Christopher Michno, Stella Rollig and Ed Schad and was designed by award-winning Vienna-based graphic artist Peter Duniecki.

Anniversary publication of the Belvedere The Belvedere in Vienna epitomizes the changes that have taken place over the course of three centuries in the concept of what constitutes a museum. Originally built by Prince Eugene of Savoy to enhance his prestige as a prince, under Maria Theresa, the Upper Belvedere became one of the world’s first public museums. The idea of presenting Austrian art in an international context, which in 1903 motivated the establishment of the Modern Gallery in the Lower Belvedere, remains the key objective of this world-famous cultural institution. In this critical homage, renowned authors explore enduring questions that transcend the different epochs, such as : What ordering concepts are evident in art presentation ? How contemporary were these presentations in an international context ? What kind of public were they aimed at ? Anniversary publication of the Österreichische Galerie Belvedere: a critical homage to a place of art with a diverse history spanning centuries Exhibition until January 7, 2024 With contributions from Johanna Aufreiter, Björn Blauensteiner, Brigitte Borchhardt-Birbaumer, Thomas DaCosta Kaufmann, Christiane Erharter, Nora Fischer, Anna Frasca-Rath, Antoinette Friedenthal, Martin Fritz, Thomas W. Gaehtgens, Sabine Grabner, Katinka Gratzer-Baumgärtner, Cäcilia Henrichs, Alice Hoppe-Harnoncourt, Christian Huemer, Georg Lechner, Stefan Lehner, Gernot Mayer, Monika Mayer, Sabine Plakolm-Forsthuber, Georg Plattner, Matthew Rampley, Luise Reitstätter, Stella Rollig, Claudia Slanar, Franz Smola, Nora Sternfeld, Silvia Tammaro, Wolfgang Ullrich, Leonhard Weidinger, Christian Witt-Dörring, Luisa Ziaja, and Christoph Zuschlag

Essays bilingual (English/German) / Catalog raisonné monolingual (German) Friedrich von Amerling (1803–1887) was one of Vienna’s most important portraitists. His oeuvre reads like a who’s who of the 19th century. He received commissions from the Habsburg court, the Austrian nobility, and the haute bourgeoisie, because no other portraitist could blend realism and idealism so aptly. In addition, throughout his life Amerling studied his own appearance in a series of self-portraits and portrayed many of his fellow artists. He became particularly popular for his depictions of young women, and stories circulated about little clues inserted into their costumes. Amerling’s approximately 1,200 paintings are collected here for the first time in an illustrated catalog raisonné. Several essays discuss the painter’s outstanding artistic talent, his life, his models, his collection, and his residence. Look inside Volume 13 of the series Belvedere catalog raisonné Portrait and genre painting in the 19th century Catalog raisonné of one of the most important Austrian portrait and genre painters of the 19th century

Essays bilingual (English/German) / Catalog raisonné monolingual (German) Georg Eisler (1928–1998) showed unwavering commitment to figurative painting and depicted his environment with a critical eye. Throughout his life, he devoted himself to a variety of themes that reveal his unique view of the world. His primary interest was people in their social and societal contexts. In addition to mundane subjects such as coffee house scenes, still lifes, and portraits both of well-known contemporaries and his own acquaintances, he critically examined social and political issues and dealt with these through his art. He also drew on personal experiences, such as his period of exile in Britain, in his paintings. This publication is the first comprehensive catalog raisonné of Eisler’s diverse oeuvre, spanning more than 1,700 paintings. Look inside Volume 12 of the series Belvedere catalog raisonné Figurative painting in the 20th century Catalog raisonné of a figurative painter and chronicler of the 20th century

The 300th birthday of Empress Maria Theresia provides an opportunity to examine her outstanding interest in the fine arts. At the invitation of the reforming monarch a large number of painters, sculptors and other artists in Austria and abroad found a wealth of work opportunities. Correspondingly, this era has left its mark on the countries of the former Habsburg monarchy to this day.Maria Theresia pursued an individual approach with regard to cultural policy. She was interested in reform not only in education, but also in the field of art. She commissioned contemporary artists and helped portrait painting to a new upswing, leading not least to the international consolidation of the newly formed House of Habsburg-Lorraine. This was the function also fulfilled by the allegorical paintings and ceiling frescoes for which impressive cartoons have survived. Landscape painting was highly esteemed, and finally outstanding masterpieces were produced in sculpture and three-dimensional works, for example by Balthasar Ferdinand Moll and Franz Xaver Messerschmidt.

1918 marked the end of a golden era: it was the year that Gustav Klimt, Egon Schiele, Koloman Moser, and Otto Wagner died. Artistic activity, however, had already freed itself of their influence. Hardly affected by the political disruptions taking plac e, artists in the countries of the former Austro - Hungarian monarchy were busily productive, driven by a desire for a new start.The period between the two World Wars is characterised in the arts by international networks that transcended political and id eological borders. A lively artistic exchange took place, stimulating constructive, expressionist, and fantastic tendencies. An increasingly important role was played by magazines that disseminated new positions. The outbreak of World War II abruptly inter rupted these cosmopolitan art networks. This publication examines the fascinating, artistically fruitful epoch between the wars.