Marian Bisanz-Prakken Livres

Nul véritable amateur d'art ne peut soustraire a la fascination qu'exercent, par la richesse de leur decoration bariolée, par l'intensité de leurs lignes ondoyantes, les somptueux tableaux de Gustav Klimt (1862-1918) : paysages ou tout symbolise le cycle éternel d'Eros, imposants portraits de femmes empreints, en une période d'accablant rigorisme victorien, de la plus vibrante sensualité, allegories grandioses qui heurtèrent violemment la sensibilité de Vienne de la Belle Epoque. On commence a peine a soupçonner l'importance de cette oeuvre pour l'histoire artistique du Xxème siècle. C'est d'un jour inhabituel que l'éclaire Alessandra COmini, par le parallèle a rebours qu'elle dresse entre Freud et Klimt - le premier s'attachant a dégager le contenu latent des symboles oniriques, le second a masquer sous une profusion de details symboliques le contenu manifeste de sa peinture. Cette pénétrante analyse révèle, dans l'univers étrange et envoutant de Klimt, des profondeurs insoupçonnées. 124 Illustrations, 48 planches en couleurs rehaussées d'or et d'argent.

Explores the rich artistic culture of the Northern Netherlands in the seventeenth century. The numerous types of Dutch art that dominated seventeenth century Holland are exploredlandscape, genre, still life, seascape, biblical and mythological subjectsas well as the societal and political context that encouraged such richness and diversity.

"The Albertina owns one of the world's most important collections of Netherlandish drawings dating from the period 1430 to 1650, including outstanding individual specimens from the circles around Jan van Eyck, Petrus Christus, or Dirk Bouts. Works by Hieronymus Bosch and Pieter Brueghel the Elder form one of the first highlights of this select collection. The rest of the sixteenth century is exemplified by masterful drawings by artists such as Jan Gossaert, Maarten van Heemskerck, and Hendrick Goltzius. The focus of the collection, however, is Holland's "Golden Age," the seventeenth century, with important works by Rembrandt van Rijn and his school. The southern Netherlands, once dominated by the House of Hapsburg, is represented by the most famous Flemish masters of the age: Peter Paul Rubens, Anton van Dyck, and Jacob Jordaens."--Publisher's website.

The intriguing, intimate and sometimes shocking drawings of Gustav Klimt and Egon Schiele are brought together in this beautiful volume.

Celebrating the 150th birthday of Gustav Klimt: survey of a huge collection Imposing publication and inexhaustible treasure trove for every lover of art

The Dutch master Rembrandt van Rijn (1606-1669) was one of the greatest draftsman of all time. Even small and quick sketches reveal his incomparable skill in capturing compositions, figures, groups, human gestures, facial expressions and landscapes with just a few strokes. Although some of Rembrandt's drawings served as preparatory studies for paintings and etchings, most are conceptual works in which he investigated motifs of movement and expression, recording ideas for his own works and those produced by pupils in his studio. Encompassing works from Rembrandt's entire career, this compact and exquisitely produced monograph presents the full spectrum of the genres and materials used in the drawings. In addition, recent scholarship has revealed that many drawings once attributed to Rembrandt were in fact done by his pupils. Of the 126 drawings in the important Berlin collection from which this volume draws its illustrations, only 55 are still considered original works by the master. Each of these is presented here within a scholarly text by Holm Bevers. As well, a selection of 25 drawings by Rembrandt's pupils is examined in light of the most recent research.

Unter dem Thema Sehnsucht nach Glück entwirft Gustav Klimt den berühmten Beethoven-Fries. Er setzt in diesem Beethovens 9. Symphonie in eine gewaltige Bildsprache um: Blattgold, Halbedelsteine und Perlmutter schmücken die 2,50 m hohe Bilderfolge genauso wie damals ungewohnte prosaische Applikationen aus Gardinenringen, Polsternägeln und Spiegelscherben. Schwebende lineare Frauenfiguren als Verkörperung der Sehnsüchte führen den Betrachter als Genien durch die lange Wandabfolge des Beethoven-Frieses. In einem faszinierenden Geflecht aus Fabeln, Figuren und Formen erzählt er in dem gewaltigen Zyklus vom Leiden der Menschheit und vom Sieg der Künste und der Liebe. Klimt beendet seinen Fries in der Darstellung 'Diesen Kuss der ganzen Welt' als Ausdruck Schillers 'Ode an die Freude'. Das Katalog-Buch erlaubt die Detailsicht auf den Fries und verweist auf die zeichnerischen Vorlagen. In diesen besonders sensiblen Aktdarstellungen, die den unmittelbaren Zugang zu seinem Werk erlauben, huldigt er der Frau als laszive Verführerin, Femme fatale, Schwangere oder Unnahbare. Die Erotik und Eleganz, die das Fin de Siècle prägen, sind diesen Darstellungen eigen.