Götz Adriani Libri

Curator Robert Storr has said of the iconic, inscrutable German painter Gerhard Richter, "He's not playing hard to get, he's doing something that is hard to get.'' The difficulty arises from a Conceptualist oeuvre that style-jumps from Photorealism to large, abstract compositions. Martha Schwendener has summed up Richter's contribution by stating, "Seeing Gerhard's abstraction and Photorealism together, you realize that this dual body of work is the perfect expression of what it means to paint today--and what a contemporary master might be." Whatever the style, Richter's subject is always painting itself. Because it features more than 80 works from important private collections, including the artist's own, this monograph provides a unique contextualization of the artist's incredibly influential career, which, spanning more than 40 years, mirrors not only the history of postwar Germany, but also the medium of painting.

This beautiful book offers a detailed portrait of Rousseau's life and career as well as sensitive interpretations of his unusual, individualistic art. Adriani tells Rousseau's strange life story: his petty bourgeois background, his attempts to establish himself as an independent artist, and his reaction to the derision with which his art was greeted in his own time. 200 illustrations.

Adriani, Götz: Henri Rousseau. Der Zöllner. Grenzgänger zur Moderne explores the life and work of Henri Rousseau, highlighting his significance as a pioneer of modern art. The book features 282 pages filled with numerous illustrations. Published in 2001 by DuMont in Köln.

A View into the book you can find under „http://verlag. sandstein. de/reader/98-473_JungeJahreAlteMeister-engl“ Four artists from Germany, known globally, who have each attained a level of fame that is unique in the history of German art. Their renown was cemented by their early work of the 1960s – that decade of reaction and rebellion, of confrontation and upheaval, of utopias and a new social compass. In conversations with Götz Adriani, the artists talk frankly about their work during this time when German society, East and West, may have got over the Nazi regime and the worst of the devastation of the war, but not the cultural and intellectual roots of Germany’s fascist past. The book offers a fresh and comprehensive look at the early works of Baselitz, Richter, Polke, and Kiefer, at how each one variously tackled the aesthetic dominance of abstract art and the unique social and political environment of their newly founded country, the Federal Republic of Germany.

The catalog features more than eighty works by the American, who as gallery owner, artist, author, and publisher operated as an important mediator between the Surrealists and the Pop Art movement since the mid-1940s and was one of the most unconventional personalities in the art scene. Tying in with the tradition of Dada, Surrealism, and American Pop Art, William N. Copley’s paintings are an ironic examination of the erotic game played by men and women in all of its facets. The artist developed his unconventional style very early on, one which manifests itself first and foremost in the two main protagonists in his pictorial narratives: a shapely blonde in rosy nakedness chances upon a small man in a suit, armed with the symbols of venerability and sublime sex—an umbrella and a bowler. His oeuvre is an absolute pictorial homage to the motive forces of Eros. Yet Copley does not only rely on naïvely pretty pictures, but develops substance in terms of content that does not open up to the viewer until he or she takes a closer look and unlocks the connection between the depiction and the picture’s title.

The Daimler Art Collection was founded in 1977 and has since grown to include about 1,800 works by more than 600 artists. The focus of the collection is on Constructivist, Concrete and Minimalist works by artists of the Stuttgart avant-garde, the Bauhaus and today's international Contemporary scene. This follow-up volume to 2006's collection catalogue, Minimalism and After , concentrates on the photographic, video, mixed media, sculptural and commissioned works that the Daimler Collection has acquired since the early 1990s. Detailed essays present and discuss approximately 300 works by more than 125 artists, including Nam June Paik, John M. Armleder, David Goldblatt, Guy Tillim, Walter de Maria, Anthony Cragg, Jeff Koons, Andy Warhol and Sylvie Fleury. Not only does Blitzen-Benz BANG explore central aspects of one of the oldest and most important German corporate collections in existence today, but it is also a survey of the important stylistic developments in international art from the 1960s to the present.

Mit J. Rewald (BA 1/87), R. Kendall (BA 3/90), H. Düchting (BA 5/89) und P. Frank (BA 1/87) sind Bibliotheken mit Literatur über Cézanne gut ausgestattet. Dieser Bild-Text-Band ist der Katalog der z.Z. in Tübingen gezeigten Gemäldeausstellung, der 1978 eine Ausstellung von Zeichnungen (BA 2/79, 294) und 1982 eine Aquarellausstellung (ID 9/82) vorangegangen waren. Alle 97 Exponate, ein repräsentativer Querschnitt durch Cézannes über 40jährige Schaffenszeit, sind im Katalog reproduziert, ausführlich beschrieben und kommentiert. Mit erläuternder Einführung, einem Beitrag zur Rezeptionsgeschichte, Bibliographie, Ausstellungs- und Katalogverzeichnis. - Empfohlen neben den o.a. Katalogen

Im pulsierenden Paris des ausgehenden 19. Jahrhunderts suchten Künstler und Bohemiens in bewusstem Bruch mit Bürgertum und Konventionen in den Etablissements der Demimonde Inspiration, Rausch und Grenzerfahrungen. Paul Cézanne, Edgar Degas, Henri de Toulouse-Lautrec und Pablo Picasso schufen freimütige, ihre Zeitgenossen schockierende Bordell- und Boudoirszenen, wie der Band anhand einer Fülle von eindrucksvollen Hauptwerken sowie selten präsentierten Arbeiten zum Thema zeigt. Bereits um 1870 entstehen Cézannes sexuell aufgeladene Figurenbilder. Wenige Jahre später fängt Degas treffende Skizzen in den Pariser Freudenhäusern ein. Toulouse-Lautrec fertigt dort bis zur Jahrhundertwende einfühlsame Charakterstudien an, und Picassos Bordellbeschwörungen erstrecken sich von den 1907 in großer Zahl entstehenden Vorstudien zu Les Demoiselles d'Avignon bis hin zu späten Inszenierungen von 1971. Zum Autor: Götz Adriani *1940 in Stuttgart. Studium der Kunstgeschichte, Archäologie und Geschichte in München, Wien, Tübingen. Seit deren Gründung 1971 Direktor der Kunsthalle Tübingen, die er 'zu einer ersten Adresse für die Schwellenkunst der Moderne' machte (Die Zeit). Ausstellung: Kunsthalle Tübingen 22.1.-22.5.2005