- Taschenbuch: 96 Seiten
- Verlag: Taschen GmbH; Auflage: illustrated edition (26. Mai 2000)
- Sprache: Englisch
- ISBN-10: 3822859710
- ISBN-13: 978-3822859711
- Größe und/oder Gewicht: 23 x 18,7 x 0,8 cm
- Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 354.268 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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From Library Journal
Russian painter Kasimir Malevich (1878-1935) is remembered primarily as the founder of the short-lived Suprematist movement in the 1920s. Yet his style varied quite a lot, tracing a curve from representation, followed by abstraction, and thence a return to the human figure. Similarly, Norwegian Edvard Munch (1863-1944) is so associated with his icon of angst, The Scream (1893), that his later, more painterly landscapes and portraits are often forgotten. Because these artists are best known for a small part of their output, these volumes, which review their entire careers, are particularly valuable. Textual matter is whittled to a minimum. Each volume contains just a pair of two-page essays: a terse biographical sketch followed by a succinct aesthetic commentary. As a result, these thin titles cannot be thought of as a source of anything but visual information, but they serve that purpose superbly. Their signature feature is the inclusion of numerous (60-70) high-quality color plates derived from every period in each artist's life. The 15th and 16th entries, respectively, in Abrams's excellent "Great Modern Masters" series, these books are identical in format to earlier titles focusing on such artists as Bacon, Chagall, Klee, and Matisse. The visual emphasis results in affordable supplements to better sources for biocritical information, like the Biographical Dictionary of Artists (Facts on File, 1995). Though not definitive, these two unique resources are highly recommended for all collections.?Douglas F. Smith, Oakland P.L., Cal.
Copyright 1996 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright 1996 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Kurzbeschreibung
Jedes „Prestel Postcard Book“ enthält 18 Postkarten im Format 10,8 x 15,5 cm mit exemplarischen Werken eines Künstlers oder zu einem Thema von mehreren Künstlern. Jedem Band ist ein Einführungstext in Deutsch und Englisch vorangestellt. Die farbigen Reproduktionen entsprechen der Qualität der Prestel-Bücher. Die „Postcard-Books“ sind aufwendig ausgestattet, ein problemloses herauslösen einzelner Karten ist möglich.
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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5 Rezensionen
6 von 6 Kunden fanden die folgende Rezension hilfreich
Pack Your Suitcase ...
5. November 2010
Format:Taschenbuch|Von Amazon bestätigter Kauf
... and get ready to travel if you aspire to 'know' the paintings of Edvard Munch (1863-1944). Looking over the reproductions in this small-format Taschen edition, you'll quickly notice that the large majority of them are in the museums of Oslo and Bergen, in the artist's native Norway. Yes, there are some very fine Munchs in Berlin, Lübeck, and Stuttgart, and a sampling in America. Few painters of the enormous stature of Edvard Munch, however, are so 'concentrated' in their homelands. But it's not inappropriate for Munch; it's as hard to comprehend Munch's vision without Norway as it is to comprehend modern Norway without Ibsen and Munch.
On the other hand, as you'll read in the text of this Taschen book, by Ulrich Bischoff, Edvard Much is generally perceived among art historians as the most significant "bridge" between the French post-impressionists and the German expressionists. That's the sort of insight one can draw from the plates in this book, some of which seem remarkably close to Cezanne and Monet while others leap forward over van Gogh to Kokoschka and Beckmann. Yet Munch is one of the most 'recognizable' of painters; it's rare to see a painting of his for the first time, across a gallery, without instantly identifying the artist. Chiefly that's because of his unique combination of the most formal vertical/horizontal axis compositions with the most informal, improvisational brushwork and his thin washes of color.
The utility of a book like this is limited, I think, to being an "aide to memory". If you've never seen at least a sample of Munch's paintings, you can't possibly imagine their impact from these little shiny pages. Munch was first a painter's painter, in terms of building an audience, but his paintings are less about Art than about Life. He himself grouped his works in what he called "Friezes of Life", and his themes were always the stages of life - childhood/youth/maturity/age - and the basic involvements of life - sexual intimacy/hostility, sickness, loneliness, and death. Munch seldom painted anything to be decorative. He sought emotional impact above all. Many of his paintings are fearsomely grim, to be honest about them, and dark and yes, depressing. But don't think you can "live without them" until you've had a chance to experience them.
On the other hand, as you'll read in the text of this Taschen book, by Ulrich Bischoff, Edvard Much is generally perceived among art historians as the most significant "bridge" between the French post-impressionists and the German expressionists. That's the sort of insight one can draw from the plates in this book, some of which seem remarkably close to Cezanne and Monet while others leap forward over van Gogh to Kokoschka and Beckmann. Yet Munch is one of the most 'recognizable' of painters; it's rare to see a painting of his for the first time, across a gallery, without instantly identifying the artist. Chiefly that's because of his unique combination of the most formal vertical/horizontal axis compositions with the most informal, improvisational brushwork and his thin washes of color.
The utility of a book like this is limited, I think, to being an "aide to memory". If you've never seen at least a sample of Munch's paintings, you can't possibly imagine their impact from these little shiny pages. Munch was first a painter's painter, in terms of building an audience, but his paintings are less about Art than about Life. He himself grouped his works in what he called "Friezes of Life", and his themes were always the stages of life - childhood/youth/maturity/age - and the basic involvements of life - sexual intimacy/hostility, sickness, loneliness, and death. Munch seldom painted anything to be decorative. He sought emotional impact above all. Many of his paintings are fearsomely grim, to be honest about them, and dark and yes, depressing. But don't think you can "live without them" until you've had a chance to experience them.
6 von 7 Kunden fanden die folgende Rezension hilfreich
An intensive exploration.
7. Juli 2003
Format:Gebundene Ausgabe
This book is short, only 48 pages, but is packed with an incredible amount of information and art. Zeri has done a phenomenal job of encapsulating Munch's life and work in a single, easily digestible package, one from which admirers of "The Scream" and art enthusiasts in general can learn a great deal. I would love to explore other books in Zeri's series.
1 von 3 Kunden fanden die folgende Rezension hilfreich
re Edvard Munch
3. März 2009
Format:Taschenbuch
http://www.amazon.com/gp/product/3822859710/ref=cm_cr_rev_prod_title
AAALiving.com writes"Becoming Edvard Munch: Influence, Anxiety and Myth" at the Art Institute of Chicago challenges the comon idea that Munch was mentally unstable. Displaying approx 150 works by Munch (incl.. Self Portrait with Palette (illustrated) and his influential peers, this exhibit shows that although he was influenced by other art movements, Munch's work draws strongly on Norwegian pictorial traditions. 312-443-3600, artinstuteofchicago.org
AAALiving.com writes"Becoming Edvard Munch: Influence, Anxiety and Myth" at the Art Institute of Chicago challenges the comon idea that Munch was mentally unstable. Displaying approx 150 works by Munch (incl.. Self Portrait with Palette (illustrated) and his influential peers, this exhibit shows that although he was influenced by other art movements, Munch's work draws strongly on Norwegian pictorial traditions. 312-443-3600, artinstuteofchicago.org
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