Ernst Ludwig Kirchner's remarkable series of paintings known as the Berlin Street Scenes is a highpoint of the artist's work and a milestone of German Expressionism, widely seen as a metaphor for modernity itself through their depiction of life in a major metropolis. Kirchner moved from Dresden to Berlin in 1911, and it was in this teeming city, immersed in its vitality, decadence and underlying sense of danger posed by the imminent World War I, that he created the Street Scenes in a sustained burst of creative energy and ambition between 1913 and 1915. As the most extensive consideration of these paintings in English, this richly illustrated volume examines the creative process undertaken by the artist as he explores his theme through various mediums, and presents the major body of related charcoal drawings, pen-and-ink studies, pastels, etchings, woodcuts and lithographs he created in addition to the paintings. The volume also investigates the significance of the streetwalker as a primary motif, and provides insight on the series in the context of Kirchner's wider oeuvre.
Ernst Ludwig Kirchner's remarkable series of paintings known as the Berlin Street Scenes is a highpoint of the artist's work and a milestone of German Expressionism, widely seen as a metaphor for modernity itself through their depiction of life in a major metropolis. Kirchner moved from Dresden to Berlin in 1911, and it was in this teeming city, immersed in its vitality, decadence and underlying sense of danger posed by the imminent World War I, that he created the Street Scenes in a sustained burst of creative energy and ambition between 1913 and 1915. As the most extensive consideration of these paintings in English, this richly illustrated volume examines the creative process undertaken by the artist as he explores his theme through various mediums, and presents the major body of related charcoal drawings, pen-and-ink studies, pastels, etchings, woodcuts and lithographs he created in addition to the paintings. The volume also investigates the significance of the streetwalker as a primary motif, and provides insight on the series in the context of Kirchner's wider oeuvre.
Es kam zur Entfremdung, der Text blieb liegen. Es hätte das allererste Buch überhaupt über Ernst Ludwig Kirchner (1880 - 1938) werden sollen, verfasst von einem frühen Förderer und Sammler des Künstlers, dem Philosophen Eberhard Grisebach (1880 - 1945). Gegen Ende des Ersten Weltkrieges war er zum engsten Freund und Vertrauten des Malers geworden. Er versprach, über ihn zu schreiben, in den Feiertagen des Jahres 1917 löste er sein Versprechen - ein Kirchner war begeistert. Doch erschienen ist das kleine Buch nie. Kaum war der Krieg zu Ende, gingen die beiden Männer getrennte Wege. Das Manuskript blieb bis auf ein einzelnes Kapitel unveröffentlicht in einer Schublade der Familie des Autors liegen.0In unseren Augen liegt hier ein wundervoller Text vor, geschrieben voller Empathie in zugleich präziser wie hochevokativer Sprache, randvoll mit Frische, Richtigkeit und Unmittelbarkeit, getragen von immenser Liebe zum Werk des Maler-Bildhauers und genährt durchtiefes Sehen. Dieser Essay eröffnet heute einen unvermutet lebendigen, unverbrauchten und inspirierenden Blick auf den frühen deutschen Expressionisten.0Begleitet wird das Buch von einem informativen Nachwort des Enkelsohns des Autors, Lucius Grisebach (geb. 1942), der selbst der Familientradition verpflichtet zu einem sehr produktiven Kirchner-Spezialisten geworden ist.
Ernst Ludwig Krichner was a founder member and leading light of Die Brucke. His Berlin street scenes peopled with prostitutes and rakes captured the essence of a city on the eve of WW1. This book traces the artist's career.
Originally published in 1932 and banned by the Nazis one year later, Blood Brothers follows a gang of young boys bound together by unwritten rules and mutual loyalty. Blood Brothers is the only known novel by German social worker and journalist Ernst Haffner, of whom nearly all traces were lost during the course of World War II. Told in stark, unsparing detail, Haffner’s story delves into the illicit underworld of Berlin on the eve of Hitler’s rise to power, describing how these blood brothers move from one petty crime to the next, spending their nights in underground bars and makeshift hostels, struggling together to survive the harsh realities of gang life, and finding in one another the legitimacy denied them by society.
With a novel quality theory of consumption which treats opulence and self-restraint in consumption styles symmetrically, Ernst Mohr shows how social distance and proximity are communicated by consumption and produced by communication. He positions fringe styles with those of the mainstream in an overall stylistic system of society and analyses their encounters. Rigorously derived, the approach casts fresh light on the cultural and social evolution as well as the business models of the consumer industry. It provides a coherent interdisciplinary access to the aesthetic turn of society that has so far been treated with contradictory paradigms.
Heritage of Our Times is a brilliant examination of modern culture and its legacy by one of the most important and deeply influential thinkers of the 20th century. Bloch argues that the key elements of a genuine cultural tradition are not just to be found in the conveniently closed and neatly labeled ages of the past, but also in the open and experimental cultural process of our time. One of the most compelling aspects of this work is a contemporary analysis of the rise of Nazism. It probes its bogus roots in German history and mythology at the very moment when the ideologies of Blood and Soil and the Blond Beast were actually taking hold of the German people. The breadth and depth of Bloch's vision, together with the rich diversity of his interest, ensure this work a place as one of the key books of the 20th century.
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