The University Library has recently acquired the catalogue published on the occasion of the exhibition A.R. Penck, Rites de passage (S950.a.201.5701) which was held at the Fondation Maeght, Saint-Paul de Vence near Nice from March 18 to June 18, 2017. Penck was one of the greatest German artists of the late 20th century along with Georg Baselitz, Markus Lüpertz, Sigmar Polke and Jörg Immendorff. The focus of the exhibition was on the challenges of his painting and sculpture through different periods, each chosen to give a better understanding of the richness of his aesthetic, existential, philosophical and literary worlds. The exhibition presented around one hundred paintings, sculptures, large sets of drawings, prints and artists’ books. Continue reading
This December marks the 300th anniversary of the birth of Johann Joachim Winckelmann, one of the most important scholars of his age. He was the founder of modern art history and archaeology and a pioneer of German classicism.
Winckelmann, who was born into humble origins as the son of a shoemaker, spent the first three decades of his life in the German provinces before coming to Dresden. At the age of 38, he moved to Rome where he became one of the most sought-after city guides and associated with noblemen from all over Europe. He established a wide network of correspondents from Italy, France, England and other countries. It is unlikely that the international reception of Winckelmann’s work would have been so far-reaching without this European network. Winckelmann is unquestionably one of the most prominent, and perhaps even one of the first German-speaking, writers of the modern period, who was read and received with great attention throughout Europe. Continue reading
We wrote last year about Fashion in the UL but with a distinct emphasis on French and Italian. Now we can give a more Germanic perspective as we have recently completed our holdings of the eight volume set Die Mode by Max von Boehn, a standard reference work published in the 1920s (our original purchase lacked one volume on the early 19th century which we were able to acquire separately later). The set covers fashion from the Middle Ages right through to 1914 and each volume is illustrated with artwork from the relevant time period. This becomes most interesting in this more recently acquired volume dealing with 1818-1842: as well as reproductions of paintings, it also includes exquisite colour plates reproduced from the Wiener Zeitschrift für Kunst, Literatur, Theater und Mode, a publication which ran for just over 30 years in the early 19th century but which is significant for its many colourful fashion illustrations. Here are some examples (click on each image to see an enlarged version): Continue reading
I recently catalogued a book from 1927, Der Niederrhein im Schrifttum alter und neuer Zeit (S950.b.9.1244), an anthology of writing about the Lower Rhine region of Northern Germany, illustrated with the most striking woodcuts. Some of these date from pre-1500 as the example to the right (or above if viewed on mobile phone) illustrates, but the majority are contemporary Expressionist works created by either Artur Buschmann or Anton Wendling, both artists I had not heard of before. The woodcut as a medium was particularly used by Expressionist artists in Germany.
Buschmann (1895-1971) was a local artist, best known for his paintings. He also worked as a draughtsman throughout his career. He had served in World War One but spent some time recuperating from a gas attack. By the 1920s he was part of the art scene in Düsseldorf. Here is a small selection of his woodcuts from the book (click on each image to see enlarged version): Continue reading
If you asked me what the best channel on French television is, I would probably reply without much hesitation: Arte. But if you asked a German person what the best channel on German television is, it is quite plausible that they would also reply: Arte. “How is this possible?” you, the Briton, may well ask. Well, it all comes down to France’s and Germany’s approach to the European Union – an approach quite different from the rather radical one favoured by the United Kingdom.
At the end of the 1980s, the Eastern Bloc was breaking into a multitude of independent countries, a reunification between East and West Germany seemed more and more likely, and France and Germany were trying to show strong unity in the construction of the European Union to counter Margaret Thatcher’s opposition. It was in this context that, in 1988, German chancellor Helmut Kohl and French president François Mitterrand, both ardent believers in the European project, met at the 52nd Franco-German summit where they decided to create a television channel funded in equal proportion by the two states, and with the ambition of becoming a proper European project. Continue reading