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This book reintroduces the work of German-Swedish painter Lotte Laserstein, who was known for her groundbreaking portraiture in the 1920s and 1930s. After being one of the first women to graduate from Berlin Art Academy in 1927, Laserstein began making a name for herself in Weimar era Berlin's thriving art scene. She was a remarkable portraitist, capturing everyday citizens of Berlin, from motorcyclists to girls playing tennis, to women applying makeup. The volume features fifty works by Laserstein that show her artistic development during the 1920s and 1930s. She was known for spurning the usual depiction of women and instead portrayed the 'New Woman' who embraced fashion and personal freedom. Unfortunately, her career came to an abrupt halt in 1937 when she was forced to flee Nazi Germany for Sweden. She continued to paint in exile, but her work never regained the same intensity or sensitivity as her Berlin portraits and she fell out of the public eye. Laserstein's works from this key period in her career have recently been rediscovered and this volume aims to bring them back into the spotlight.00Exhibition: Städel Museum, Frankfurt (19.9.2018 - 17.3.2019) / Berlinische Galerie, Museum für Moderne Kunst, Berlin, Germany (5.4. - 12.8.2019).
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Laserstein's current reputation as a great realist has assigned her an undisputed place in the 20th-century art history. Striking portraits, self-portraits and sensuous nudes demonstrate her synthesis of traditional painting style and modern subject matter in the Berlin period. During her five Swedish decades she produced an extremely extensive and diverse oeuvre. Works from all creative periods, including numerous works not published before, and texts questioning debates on gender and queerness as well as analyses of her assimilation strategies in Swedish exile will shed new light on the artist. (Quelle: Hirmer Publishers)
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At the center of the catalogue *CLOSE-UP* are nine women artists, all of whom concentrated upon portraits and self-portraits and represent outstanding, exemplary positions in the history of modernism since 1870. Here, the interest is in each artist's specific view of her surroundings, as it is expressed in portraits and self-portraits, and how this gaze has changed between 1870 and today. In essays by renowned authors, this is examined through the theme "artists and their models." In the selection of models, and in the way they are shown, the concept of the portraits as held by Morisot, Cassat, Modersohn-Becker, Lasersteing, Neel, Kahlo, Dumas, Sherman, and Peyton is expressed.
Women artists --- Women in art --- 75.041 --- Vrouwelijke kunstenaars ; portretteren vrouwen --- 7.041 --- Zelfportretten --- Beeldende kunstenaar ; beroep ; vak ; bedrijf --- Artists, Women --- Women as artists --- Artists --- Schilderkunst ; de mens, portretten --- Iconografie ; de mens, portretten --- Exhibitions --- Modersohn-Becker, Paula --- Kahlo, Frida --- Cassatt, Mary --- Dumas, Marlene --- Neel, Alice --- Morisot, Berthe Marie Pauline --- Sherman, Cindy --- Peyton, Elisabeth --- Vrouwelijke kunstenaars --- Painting, Modern --- Portrait painting --- vrouwelijke kunstenaars --- Bashkirtseff, Marie --- Morisot, Berthe --- Peyton, Elizabeth --- Laserstein, Lotte --- 19de eeuw --- 20ste eeuw --- 21ste eeuw --- vrouwelijke kunstenaar --- vrouwelijke kunstenaars. --- Bashkirtseff, Marie. --- Morisot, Berthe. --- Dumas, Marlene. --- Cassatt, Mary. --- Neel, Alice. --- Modersohn-Becker, Paula. --- Sherman, Cindy. --- Peyton, Elizabeth. --- Laserstein, Lotte. --- Kahlo, Frida. --- 19de eeuw. --- 20ste eeuw. --- 21ste eeuw.
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Iconography --- Art --- painting [image-making] --- photography [process] --- performance art --- art theory --- nudes [representations] --- sculpting --- Brancusi, Constantin --- Magritte, René --- Horn, Rebecca --- Brown, Cecily --- Maillol, Aristide --- Baselitz, Georg --- Géricault, Théodore --- Clouet, François --- Pearlstein, Philip --- Modersohn-Becker, Paula --- Kahlo, Frida --- Wilke, Hannah --- Altfest, Ellen --- Picasso, Pablo --- Velázquez, da Silva y, Diego --- Knight, Laura --- Bilinska, Anna --- Carucci, Elinor --- Coplans, John --- Bourgeois, Louise --- Kneebone, Rachel --- Lamprou, Panayiotis --- Laserstein, Lotte --- Abramovic, Marina --- Lovell, Fenella --- Luksch-Makowsky, Elena --- Manchot, Melanie --- McGinley, Ryan --- Dumas, Marlene --- Myers, Rhoda --- Neel, Alice --- Wesselmann, Tom --- Orgel, Sandy --- Russell, Victoria Kate --- Semmel, Joan --- Shaw, Fiona --- Sleigh, Sylvia --- Tilley, Sue --- Vasconcelos, Joana --- Warren, Rebecca --- Koons, Jeff --- Klein, Yves --- Manet, Edouard --- Sherman, Cindy --- Schneemann, Carolee --- Picabia, Francis --- Giorgione --- Dürer, Albrecht --- Degas, Edgar --- Goya y Lucientes, de, Francisco José --- Dalí, Salvador --- Rodin, Auguste --- Beecroft, Vanessa --- Freud, Lucian --- Delvaux, Paul --- Munch, Edvard --- Moore, Henry --- Mapplethorpe, Robert --- Tillmans, Wolfgang --- Dijkstra, Rineke --- Chapman, Jake --- Currin, John --- Emin, Tracey --- Fischl, Eric --- Gilbert and George --- Lucas, Sarah --- Peyton, Elisabeth --- Rist, Pipilotti --- Taylor-Wood, Sam --- Smith, Kiki --- Courbet, Gustave --- Rubens, Peter Paul --- Mueck, Ron --- Orlan --- Gerstl, Richard --- Benglis, Lynda --- Gormley, Antony --- John, Gwendolyn Mary --- Mendieta, Ana --- Quinn, Marc --- Ruff, Thomas --- Saville, Jenny --- Buonarroti, Michelangelo --- Stelarc --- Tunick, Spencer --- Schiele, Egon
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