Visar resultat för..."Oskar Schlemmer"

Oskar Schlemmer, painter, draughtsman, graphic artist, sculptor, wall designer, set designer, choreographer and author, is one of the most diverse artists of the modern age. Two inspiring essays as well as a biography and chronology, introduce us to the Bauhaus master. First monographic exhibition on the work of Oskar Schlemmer in Eastern Germany.Front cover imageOskar Schlemmer Das Bauhaus und der Weg in die ModerneStiftung Schloss Friedenstein Gotha (ed.)Not yet printed due - 05/199783897905580Paperback with flapsArnoldsche Art PublishersTerritory: UK, US, Eastern Europe, France, Japan, South Korea, Africa, South America & Ireland exclusive. South Africa, Belgium, N&M East non-exclusive.Size: 270 mm x 210 mmPages: 96Illustrations: 100 colourRRP GBP25.00 Your price GBP20.00Oskar Schlemmer, painter, draughtsman, graphic artist, sculptor, wall designer, set designer, choreographer and author, is one of the most diverse artists of the modern ageTwo inspiring essays as well as a biography and chronology, introduce us to the Bauhaus masterFirst monographic exhibition on the work of Oskar Schlemmer in Eastern GermanyPainter, draughtsman, graphic artist, sculptor, wall designer, set designer, choreographer, author: Oskar Schlemmer (1888-1943) is one of the most diverse artists of the modern age. Embodying the all-encompassing Bauhaus concept of uniting the arts and crafts, his works always focused on a vision of the future in which modern man would live in harmony with technical and societal innovations.To mark the Bauhaus anniversary in 2019, the first monographic exhibition on Oskar Schlemmer in Eastern Germany is to take place in Gotha in 2019. With two inspiring essays as well as a biography and chronology, this catalogue introduces us to the Bauhaus master's fascinating world of ideas, in particular those generated during the vibrant 1920s and 1930s.Text in German.

Darkness has a history and a uniquely modern form. Distinct from night, shadows, and artificial light, “artificial darkness” has been overlooked—until now. In fact, controlled darkness was essential to the rise of photography and cinema, science and spectacle, and a century of advanced art and film. Artificial Darkness is the first book to historicize and theorize this phenomenon and map its applications across a range of media and art forms.In exploring how artificial darkness shaped modern art, film, and media, Noam M. Elcott addresses seminal and obscure works alongside their sites of production—such as photography darkrooms, film studios, and laboratories—and their sites of reception, including theaters, cinemas, and exhibitions. He argues that artists, scientists, and entertainers like Étienne-Jules Marey, Richard Wagner, Georges Méliès, and Oskar Schlemmer revolutionized not only images but also everything surrounding them: the screen, the darkness, and the experience of bodies and space. At the heart of the book is “the black screen,” a technology of darkness that spawned today’s blue and green screens and has undergirded numerous advanced art and film practices to this day.Turning familiar art and film narratives on their heads, Artificial Darkness is a revolutionary treatment of an elusive, yet fundamental, aspect of art and media history.

A fascinating survey of pioneering work in experimental cinema and art from 1905 to the present day, revealing the high stakes and transformative potential of these formsThis generously illustrated publication surveys the work of filmmakers and artists who have pushed the material and conceptual boundaries of cinema. Over the past century, the material, optical, abstract, spatial, and tactile properties of film have been tested at a level of experimentation and utopian ambition that is generally unrecognized. Whether creating synesthetic or 3-D environments, projective or non-projective installations, generations of leading-edge artists have explored how technology transforms experience.  The essays published here offer an intensive look at the themes of cinematic space, formats of the screen, animation and CGI, the body and the cyborg, and the materiality of film. Contributors place particular emphasis on the idea of the cinema as a sensorium and on the ways in which it defines the human body, both through representation and in relation to the projected image. An immersive plate section brings together rarely seen and previously unpublished stills, in addition to concept drawings from historic and contemporary films.Distributed for the Whitney Museum of American ArtExhibition Schedule:Whitney Museum of American Art, New York(10/28/16–02/05/17)

Focusing on the work of painter, choreographer and scenic designer Oskar Schlemmer, the "Master Magician" and leader of the Theatre Workshop, this book explains this "theatre of high modernism" and its historical role in design and performance studies; further, it connects the Bauhaus exploration of space with contemporary stages and contemporary ethics, aesthetics and society. The idea of "theatre of space" is used to highlight twentieth-century practitioners who privilege the visual, aural, and plastic qualities of the stage above character, narrative and, themes (for example Schlemmer himself, Robert Wilson, Tadeusz Kantor, Robert Lepage). This impressive volume will be of use to students and academics involved in the areas of twentieth-century performance, the history of performance art, the history of avant-garde theatre, modern German theatre, and Weimar-era performance.

Focusing on the work of painter, choreographer and scenic designer Oskar Schlemmer, the "Master Magician" and leader of the Theatre Workshop, this book explains this "theatre of high modernism" and its historical role in design and performance studies; further, it connects the Bauhaus exploration of space with contemporary stages and contemporary ethics, aesthetics and society. The idea of "theatre of space" is used to highlight twentieth-century practitioners who privilege the visual, aural, and plastic qualities of the stage above character, narrative and, themes (for example Schlemmer himself, Robert Wilson, Tadeusz Kantor, Robert Lepage, Pina Bausch). This impressive volume will be of use to students and academics involved in the areas of twentieth-century performance, the history of performance art, the history of avant-garde theatre, modern German theatre, and Weimar-era performance.

"Empire of Ecstasy" offers a novel interpretation of the explosion of German body culture between the two wars - nudism and nude dancing, gymnastics and dance training, dance photography and criticism, and diverse genres of performance from solo dancing to mass movement choirs. Karl Toepfer presents this dynamic subject as a vital and historically unique construction of 'modern identity.' The modern body, radiating freedom and power, appeared to Weimar artists and intelligentsia to be the source of a transgressive energy, as well as the sign and manifestation of powerful, mysterious 'inner' conditions. Toepfer shows how this view of the modern body sought to extend the aesthetic experience beyond the boundaries imposed by rationalized life and to transcend these limits in search of ecstasy. With the help of much unpublished or long-forgotten archival material (including many little-known photographs), he investigates the process of constructing an 'empire' of appropriative impulses toward ecstasy. Toepfer presents the work of such well-known figures as Rudolf Laban, Mary Wigman, and Oskar Schlemmer, along with less-known but equally fascinating body culture practitioners.His book is certain to become required reading for historians of dance, body culture, and modernism.

This is a fascinating and superbly illustrated look at how the First World War influenced an entire generation of visual artists. Much of how WWI is understood today is rooted in the artistic depictions of the brutal violence and extensive destruction that marked the conflict. Nothing but the Clouds Unchanged examines how the physical and psychological devastation of the war altered the course of 20th-century artistic Modernism. Following the lives and works of fourteen artists before, during, and after the war, this book demonstrates how the conflict and the resulting trauma actively shaped artistic production. Materials from the Getty Research Institute's special collections, including letters, popular journals, posters, sketches, books, propaganda, and photographs - situate the works of the artists within the historical context, both personal and cultural, in which they were created.

Friedrich Vordemberge-Gildewart (1898-1962), an artist associated with many contemporary greats, and Ilse Leda (1906-1981), a dancer, dance teacher and choreographer, met at a time when the international avant-garde of constructive, non-representational abstraction and thus of new approaches to photography, film and dance was arriving in Hanover. Both were deeply impressed by the grand utopia of a world improved by clarity of design and beauty. They adopted these principles for themselves – also as an expression of their ideas and work – through the times of upheaval, their emigration to Amsterdam, and their arrival at a very personal art of formal reduction and brilliant colours, lightness and enduring humanity. Sensitive texts and impressive contemporary photographs reveal the couple’s respectful coexistence: on an equal footing, supporting and inspiring each other. Dancing images and artistic dance – in conjunction with clear aesthetics in both art and life. Look inside Publication to mark Friedrich Vordemberge-Gildewart’s 125th birthday New evaluation and recognition of dancer, dance teacher, and choreographer Ilse Leda The lives of two artists in photos from the 1920s/1930s taken by Lázló Moholy-Nagy (including the discovery and fresh attribution of three previously anonymous photos), Hugo Erfurth, Lore Feininger, Albert Renger-Patzsch. Kurt Schwitters, Käte Steinitz, Paul Citroen, Theo van Doesburg etc. Exhibition: Museum Wiesbaden, September 26, 2025 to February 8, 2026

The catalogue impressively presents how young and timeless the art of drawing still is today. The book brings together roughly 140 drawings from the holdings of the Graphische Sammlung (Collection of Prints and Drawings) of the Museum Pfalzgalerie Kaiserslautern, presented by renowned authors. The arc extends from Gustav Klimt, Max Slevogt, Hans Purrmann, and Kathe Kollwitz to Rudolf Levy, Emy Roeder, and Pablo Picasso to Karl Bohrmann, Bettina Blohm, and Malte Spohr, as well as to more recent acquisitions by Max Uhlig, Hanns Schimansky, Doris Kaiser, Barbara Hindahl, and Thomas Muller. Based on these works from the history of German art in particular, all the signifi cant trends of the past 150 years are delineated on the highest level and, beyond the exhibition, a fundamental work on drawing is presented.