Jugendstil, Art Nouveau alemán - Revista Jugend / Jugendstil, German Art Nouveau - Jugend Magazine

 

 

 

La traducción literal de Jugendstil sería “estilo joven o de la juventud” y designa la variante del Art Nouveau que surgió en Alemania durante la última década del siglo XIX. El término provenía del título de la revista Jugend (ver al final), la cual, fundada por Georg Hirth en Munich en 1896, desempeñó un papel importante en la popularización del nuevo estilo. 

Influidos por las ideas reformistas de John Ruskin (1819-1900) y William Morris, los diseñadores del Jugendstil, como Hermann Obrist, Richard Riemerschmid y August Endell, tenían unos objetivos más idealistas que sus contemporáneos europeos ligados al estilo Art Nouveau. No sólo pretendían reformar el arte sino también recuperar un estilo de vida más sencillo y menos condicionado por los imperativos comerciales. Compartían el optimismo de la juventud y un gran respeto por la naturaleza que trasladaron a toda su obra.  

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Jugendstil's literal translation would be "young or youthful style" and designates the variant of Art Nouveau that emerged in Germany during the last decade of the 19th century. The term came from the title of the magazine Jugend (see below), which, founded by Georg Hirth in Munich in 1896, played an important role in popularizing the new style.  

 Influenced by the reformist ideas of John Ruskin (1819-1900) and William Morris, Jugendstil designers such as Hermann Obrist, Richard Riemerschmid and August Endell had more idealistic goals than their European contemporaries linked to the Art Nouveau style. They not only sought to reform art but also to recover a simpler lifestyle that was less conditioned by commercial imperatives. They shared the optimism of youth and a great respect for nature that they transferred to all their work.  

Frida Kahlo • Taschen [español]

Reseña del editor: 

Las cautivadoras imágenes creadas por Frida Kahlo (la mayoría de ellas autorretratos de pequeño formato) son, en muchos sentidos, la manifestación de un trauma. Hija de un fotógrafo alemán emigrado a México y una madre mexicana de ascendencia indígena, Kahlo (1907–1954) resultó gravemente herida en un accidente de tráfico a los 18 años de edad. Sus considerables lesiones vertebrales, pélvicas y abdominales la condenaron a una vida de continuos problemas de salud y le impidieron tener hijos. Entre otras penurias, sufrió hasta 35 intervenciones quirúrgicas, largos periodos de dolor extremo, embarazos fallidos y, hacia el final de su vida, la amputación de parte de una pierna. El sufrimiento físico de Kahlo se vio a un tiempo aminorado y exacerbado por sus tumultuosas vivencias emocionales. Con 21 años contrajo matrimonio con el famoso pintor muralista Diego Rivera. La suya fue una relación tormentosa, marcada por el fuerte carácter de ambos, así como por numerosas infidelidades, un divorcio y un nuevo matrimonio. Pese a lo volátil de sus disputas, Rivera describió el día que murió Kahlo (posiblemente por suicidio) como el más trágico de su vida. Aún adolescente, Kahlo empezó a pintar en su lecho de convalecencia. En poderosos y simbólicos retratos de su padecer físico y psicológico, Kahlo supo combinar sobre el lienzo la tradición religiosa mexicana con elementos surrealistas para plasmar el dolor y la soledad, pero también el amor, el deseo, el lujo y los ideales comunistas que profesaban tanto ella como su marido. La obra de Kahlo se revalorizó póstumamente, a partir de la década de 1970, y en 1983 fue declarada propiedad del Estado mexicano. Hoy está considerada una de las más importantes pintoras del siglo xx, así como un icono feminista y una pionera del arte latinoamericano.

 

 

  Andrea Kettenmann (Autor)

Circa 1492 • Art In The Age Of Exploration

Marking the 500th anniversary of the meeting of worlds that took place at the end of the 15th century, Circa 1492 reflects on this watershed moment, one that has been called “the most significant secular event in human history.” Informed by the lasting perspective of art and cultural achievement, this exhibition catalog assesses what we have loosely termed the “Age of Exploration.” Including more than 600 paintings, sculptures, prints, drawings, maps, scientific instruments, and works of decorative art from four continents—most of them created during the late 15th or early 16th century—the exhibition provides a broad, thematic survey through space rather than chronologically through time. The juxtapositions presented generate a new, keener understanding, both intellectually and affectively, of this historic era that resulted in links among continents that forever changed the character of the relationships between the world’s cultures.

 

 

Editor Jay A. Levenson (Autor)  

Walker Evans • Catalogue of the Collection - Getty Museum

The J. Paul Getty Museum holds nearly 1,200 prints by master photographer Walker Evans, spanning four decades of his professional life. Many of them have never before been published. This catalogue brings together all of the museum's material on Evans. Included are images both familiar, such as his photographs of tenant farmers in the 1930s, and unfamiliar, such as those he made in Florida in the 1940s and his late Polaroid studies from the 1970s. Keller's lively text provides essential background on the major phases of Evans's artistic development, and a wealth of biographical and bibliographical information. Altogether, this book immediately becomes one of the essential studies of this American master's long and influential career.

Editorial Reviews

From Publishers Weekly

Even readers who know photographer Walker Evans's work will find much new in this catalogue of the Getty Museum's complete Evans collection in Malibu, Calif. Containing 1054 duotone and 31 color illustrations, the book includes familiar pictures such as those of Alabama tenant farmers made in the 1920s, as well as much that is unfamiliar; e.g., his images of trailers, wildlife, road scenes, tourists and the circus from Florida's west coast in the early 1940s, or the carefully composed Polaroid studies made shortly before his death at age 71 in 1975. Also included are teeming pictures of Cuba taken in 1933, his documentary studies of African tribal art and the Deep South in the 1940s. In her thoughtful accompanying essay, Getty associate curator Keller follows the continuity of Evans's major motifs-signs, "found" objects, anonymous portraits, local architecture-from his earliest New York City street scenes of the late 1920s throughout his career, making this an invaluable resource for devotees of Evans.

Copyright 1995 Reed Business Information, Inc.

From Library Journal

Walker Evans (1903-75), whose career spanned five decades, from the 1920s to the early 1970s, was arguably the most influential 20th-century American photographer. He was accomplished technically as well-he used 21 different cameras and continued printing his own work until late in his career. This catalog of the Getty's collection of Evans's work is the most complete, most scholarly, and most useful to date, reproducing nearly 1200 images (though most are shown here in small formats, making it difficult to enjoy the high-quality reproductions). Keller, the associate curator of photographs at the Getty, spent years compiling information about Evans's life and oeuvre, working from dozens of previously published studies. She has documented, in the most exacting way, provenance, alternate croppings, signature stamps, previous publication of the images, and other identifying details about every Evans photograph in the Getty's collection, which is made up of images acquired from several major collectors, including George Rinhart, who acquired the contents of Evans's studio at the time of his death. Prints are arranged chronologically in ten chapters, each beginning with an insightful essay that examines the context and influences of the period. Photographs are reproduced from dozens of projects: from his most famous portraits of Depression-era farm families published in his collaboration with James Agee for Let Us Now Praise Famous Men to photo essays for Fortune magazine. Every library with collections on the history of photography or contemporary photography should acquire this book; it cannot be recommended too highly.

Kathleen Collins, New York Transit Museum Archives, Brooklyn

Copyright 1996 Reed Business Information, Inc.

Judith Keller (Autor)

Historia del Arte • María del Rosario Farga Mullor, María José Fernández Barberena [español]

La segunda edición (revisada) de Historia del arte constituye un interesante recorrido por las manifestaciones artísticas a lo largo de la historia de la humanidad, desde las pinturas rupestres hasta las diversas escuelas del siglo XX, considerando las obras de arte en relación con el contexto general y personal del artista en que fueron creadas.

Al principio de las unidades, se presenta un planisferio donde se señalan las principales zonas de desarrollo de cada época de la historia del arte. Los capítulos inician con un diagrama conceptual que resume su contenido, una introducción general y una línea de tiempo que ayuda a comprender la sucesión de eventos y su interrelación. Asimismo, incluyen por lo menos una ficha técnica de una obra de arte, que enseña al lector cómo apreciarla y lo guía en los elementos que deben tomarse en cuenta en dicha tarea. También contiene secciones de refuerzo, donde se repasan los puntos clave de las épocas o corrientes tratadas. Se agregaron cuatro capítulos: El arte en China, El arte en India, El arte etrusco y El arte mexicano de los siglos XIX y XX.

Con esta edición, el profesor podrá pedirá los estudiantes que hagan ejercicios prácticos en línea. Así, este libro representa una alternativa a la educación artística tradicional, para pasar de la memorización de datos al descubrimiento, el aprendizaje y el deleite del arte.

Contenido:
Unidad I: Introducción al lenguaje artístico
Capítulo 1. Introducción al estudio de la obra de arte
Capítulo 2. Teoría e historiografía del arte
Capítulo 3. El lenguaje del arte

Unidad II: El arte prehistórico y antiguo
Capítulo 4. La prehistoria: el arte-magia
Capítulo 5. El arte en Mesopotamia y Persia
Capítulo 6. El arte en Egipto
Capítulo 7. El arte en China
Capítulo 8. El arte en India
Capítulo 9. El arte prehispánico

Unidad III: El arte prehelénico Grecia y Roma
Capítulo 10. El arte prehelénico del Mediterráneo oriental y occidental: arte egeo o minoico-micérico
Capítulo 11. El arte clásico: Grecia
Capítulo 12. El arte etrusco o prerromano
Capítulo 13. El arte clásico: Roma

Unidad IV: Del arte paleocristiano al arte gótico
Capítulo 14. El arte paleocristiano y bizantino
Capítulo 15. El arte islámico
Capítulo 16. Liarte románico
Capítulo 17. El arte gótico

Unidad V: Del renacimiento al manierismo
Capítulo 18. El arte del Renacimiento
Capítulo 19. La pintura flamenca
Capítulo 20. El manierismo

Unidad VI: Barroco neoclasicismo y romanticismo
Capítulo 21. El arte barroco europeo
Capítulo 22. El arte barroco en la Nueva España
Capítulo 23. Neoclasicismo y romanticismo

Unidad VII: El arte en los siglos XIX y XX
Capítulo 24. El arte en el siglo XIX y et tránsito al siglo XX
Capítulo 25. El arte del siglo XX
Capítulo 26. El arte mexicano en los siglos XIX y XX
BIBLIOGRAFÍA
GLOSARIO

Paul Klee maestroː de la Bauhaus • Fundación Juan March

Greek Art of the Aegean Islands • MET

The Metropolitan Museum of Art presents us with a rich sampling of the splendid cultural heritage of Greece. Not only does it emphasize the diverse geographic centers of artistic production but it also covers a broad chronological span, extending from the Early Bronze Age to the Classic Period of the fifth century B.C. Many of the objects are of particular interest in that they are recent finds, which, outside of archaeological circles, are known only to those who have actually visited the National Museum in Athens, and the many different local museums throughout the Greek islands. The loan demonstrates the significant cultural interconnections among the islands as well as the wealth and variety of materials used and the lively forms that characterize so much of Greek art.

American Naive Painting • National Gallery Of Art

Deborah Chotner with contributions by Julie Aronson, Sarah D. Cash, and Laurie Weitzenkorn

Published 1992

688 pages

The American naive paintings at the National Gallery of Art have long been appreciated as wonderfully appealing, and in some cases visually stunning, works of art. Yet with the exception of those paintings by important, known artists such as Erastus Field or Edward Hicks, few had been studied thoroughly. Whereas other volumes of the systematic catalogue build upon decades, sometimes centuries, of scholarship, many of the more than 300 pictures included here are now published for the first time. The research presented here reveals much about the growth of the United States, its centers of commerce a century and a half ago, the pathways for the spread of visual ideas in the 19th century, and the aspirations and sentiments of the middle class. The majority of the works included originated in the northeastern United States during the 19th century.

AbeBooks ...

Paul Signac, 1863-1935 • Master of Neo-Impressionist

Vincent Van Gogh: 800 imágenes indizadas / 800 indexed images

 

Comprende más de 800 imágenes indizadas por título y año, en archivos jpg de alta calidad.
1,63GB

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It includes more than 800 indexed images per title and year, in high quality jpg files.
1,63GB

Gods, Saints & Heroes - Dutch Painting in the Age of Rembrandt

Our present appreciation of Dutch 17th-century painting still owes a great deal to 19th-century art critics, who mainly valued the naturalistic qualities of the Dutch masters. A realistic approach may have been the vital force of those artists, but art theory of the period had little appreciation for painters who merely copied nature. In the hierarchy of subjects, portraiture and still life ranked lowest, while the true and highest goal of an artist was to become a history painter, one who depicted ethical ideas through biblical and mythical scenes or allegories. Our traditional way of looking at Dutch art makes us overlook precisely those works the artists themselves esteemed most. Gods, Saints, and Heroes presents a comprehensive survey of an eminent area of Dutch painting and reaffirms the accolades once bestowed on Dutch history painting.

A. et al. Blankert (Autor)

Orazio & Artemisia Gentileschi, pdf

bio:
Artemisia
Orazio

Caravaggio • Félix Witting & M. L. Patrizi

Aelbert Cuyp • Arthur K. Wheelock Jr.

Aelbert Cuyp (1620-1691) was one of the foremost Dutch painters and draftsmen of the seventeenth century. His prolific artistic career spanned the years between 1640 and 1665, the greatest period of Dutch painting, and his idyllic views of the Dutch countryside have entranced collectors and connoisseurs ever since. Although particularly renowned for his pastoral scenes, Cuyp also painted portraits, biblical scenes, and majestic views of Dutch harbors. He had an extraordinary ability to capture atmospheric conditions from the golden glow of the late afternoon sun to the brisk wind accompanying a sudden thunderstorm. Indeed, Cuyp's unique combination of Italianate atmospheric effects and native Dutch landscape distinguishes his art from that of any of his contemporaries. At the core of this book and the exhibition it accompanies are forty-five of Cuyp's most distinguished paintings and sixty-four drawings, taken largely from the impressive collections of the organizing institutions but also from other American, British, Dutch, and German museums and private collections. The works are reproduced in brilliant color and accompanied by more than 100 additional illustrations in color and black and white. Their appeal lies not only in the subject matter but also in their distinctive style, for Cuyp infused his Arcadian subjects and river views with a sensitivity to light and a clarity of form that is firmly grounded in reality. 222 illustrations, 124 in color Led by Arthur K. Wheelock of the National Gallery of Art, an international team of curators and scholars discuss Cuyp's work in the context of his time, personal background, artistic development, patrons, use of costume, and artistic techniques.

Hokusai • After Edmond de Goncourt