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by Ulrich Bischoff

ePub Max Ernst (Basic Art) download
Ulrich Bischoff
Taschen; 1st Printing edition (February 1, 1994)
History & Criticism
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1999 kb
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Series: Basic Art (Book 13). Paperback: 96 pages.

Series: Basic Art (Book 13). 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.

Outstanding for his varied style and technique Max Ernst (1891-1996) is one of the most important figures of Dadaism and Surrealism. As a student in Bonn, he found himself drawn to the Dada movement that had arisen in counter-reaction to the mass slaughter of World War I. The closing of the famed Dada exhibit in Cologne for 'obscenity' led Ernst to decide to spend the rest of his life in Paris, where he came in contact with the Surrealists. Above all, Ernst stands out for his varied style and technique, having produced an oeuvre that reaches from paintings, drawings.

Max Ernst by Ulrich Bischoff (Paperback, 1994). Item Information:Author : Bischoff, Ulrich. Product Information:TITLE: Max Ernst (Taschen Basic Art Series). Weight: 499. Other Details:Condition : Good.

Author:Bischoff, Ulrich. Max Ernst (Taschen Basic Art Series). World of Books Australia was founded in 2005. We want your experience with World of Books Australia to be enjoyable and problem free. Max Ernst by Ulrich Bischoff (Paperback, 1994). Pre-owned: lowest price.

Max Ernst: Beyond Painting. Ninety pages of artistic dynamite with an extended essay by art historian Ulrich Bischoff.

Max Ernst (1891-1976) nacque a Bruhl, in Germania, il 2 Aprile del 1891  . Max Ernst: Beyond Painting. Part of the Taschen series with dozens of pages filled with Max Ernst art, the majority in color, this volume offers a solid foundation for anyone interested in the artist’s life and work.

As a student in Bonn, he found himself drawn to the Dada movement that had arisen in counter-reaction to the mass slaughter of World War I.

Since 1994 Bischoff has been director of the Gemaldegalerie Neue Meister at the Staatliche Kunstsammlungen Dresden.

He has taught numerous courses at the Academy of Fine Arts in Munich and at the Universities of Berlin, Kiel, Hamburg, Passau and Dresden. Since 1994 Bischoff has been director of the Gemaldegalerie Neue Meister at the Staatliche Kunstsammlungen Dresden. He has published numerous writings in the areas of classical modernity and contemporary art, including TASCHEN's Edvard Munch and Max Ernst.

The classic TASCHEN book

The classic TASCHEN book. The art book series details the individuals whose practices have shaped the development of art and design but it also records larger art movements in titles where you can explore the context of a generation and appreciate the galvanizing spirt of the collective. An essential element to any library, the Basic Art Series are the quintessential TASCHEN art books. These seductive books have slick production values, excellent illustrations, and smart texts. Each one is a fast-food, high-energy fix on the topic at hand.

Max Ernst - Graphical work and illustrated books - Museum Ludwig Cologne - 1990. Ulrich Bischoff Max Ernst.

Max Ernst - Graphical work and illustrated books - Museum Ludwig Cologne - 1990 Ulrich Bischoff Max Ernst. C - Below average, suitable for enjoying/reading etc rather than for a collection.

First printing bound in color pictorial wrappers. 9" x 12" trade paperback in English. Color and black & white illustrations through-out. A Near Fine copy. There is a faint, 3/4" diagonal crease at the front wrapper's lower right corner. Mild dusting to the page edges.
  • This is a must for any Ernst-ophiles. It's pricey, however this is a different kind of biography. His story is somewhat narrated through his letters and many small but sharp reproductions of his art. This is not for people just discovering him though, since there are many books that delve deeper into his history, his discoveries and the juicy gossip of his life (Max was quite the cad..). For people steeped in Ernst, it's a revelation - letters concerning the major points in his life, photos I've never seen before (I have lots of Erst books) that help tie up loose ends in his narrative - at least for me.

    If you're new to Ernst, here are a couple of cheaper books that may serve you better:
    1) Max Ernst - DaDa and the Dawn of Surrealism by William Camfield
    2) Max Ernst - A Retrospective by Werner Spies and the Tate Gallery

    Enjoy the journey! Max is a fascinating character as well as the greatest artist of his time.

  • Max Ernst Life and Times is a different kind of biography. After reading Calvin Tomkins'

    Duchamp and Off the Wall - a portrait of Robert Rauschenberg, I had come to believe the biography of artist were the same. Neil Baldwin's, Man Ray - American Artist further reinforced this notion. However, Werner Spies book is a path not often taken. I suspect that the background of the authors, journalistic versus artistic has much to do with this difference.

    Firstly, the book is beautiful in its glossy white high weight paper. The color plates are stunning (something lacking in Tomkins' books - again background differences). What I found disconcerting was who the text presented M.E. in an `at arms length' perspective.

    The text is mainly letters and notes, some M.E. autobiographical entries strangely done in the 3rd person. Tomkins amerces you in the artist life and you feel an identity with situations and people. Spies' transcribs letter after letter (for some reason all shown in the book) to and from M.E. End result is a fragmented picture (surreal?) and not wholly fulfilling.

    Now if Spies' format and Tomkins journalism got together....

    Would I purchase this book again? Yes, but for the format and brilliant graphics. I will have to look elsewhere to read about Max Ernst.

  • This book offers a very perceptive history of this artist, and of the surrealist movement to which he belonged. The text shows a clear understanding of the many factors surrounding this movement.

  • In his text, Ulrich Bischoff proposes that Max Ernst had earned the right to be known as the leading exponant of Surrealist art of the 1940's and 50's, but since Salvador Dali knew how to present himself in society to greater effect, he inherited the title. Whatever one thnks of Dali's skill as a publicist, his work is different to Ernst's in one sense - Ernst's most potent paintings were done before he came to the U.S. It's interesting to theorise that it was because Ernst was harassed by the Nazis when they invaded France where the German Ernst lived, that he created the decalcomonia technique which decorates what I think are his greatest works - Joy of Life, The Robing of the Bride, Marlene, Europe after the Rain, Day and Night, The Eye of Silence and The Temptation of St. Anthony. This technique of applying the paint to the canvas by pressing it against a flat surface, gives the result a mossy, furry or marshy appearance. This coupled with Ernst's penchance for grotesque mythological figures would have aligned him with Jewish and other non-naturalistic artists considered decadent and perverse by the Third Reich's aesthetic. What makes Bischoff's collection of Ernst's paintings interesting is the evolution of Ernst's style, which would lead him to the decalcomania. As early as 1919 in Family Excursion one sees Ernst's sombre air. I also like The Master's Bedroom, It is worth spending a night in of 1920, done in his Dada period, with the symbolism of the animals, as evidence of Ernst's interest in Freud; the grattage works Vision Induced by the Nocturnal Aspect of the Porte St Denis 1927 and The Horde 1927; and the alien-like Human Form 1931. Even his most celebrated (and personally I think overrated) work, the biblical The Entire City 1935/36 is a prelude to the later beauty, wit and eroticism. Ernst's post- decalcomanic work seems to present him as more restful, perhaps not the best state for an artist. The images are pretty but the soul is at peace. Of note is the 1942 Surrealism and Painting, where he used what Jackson Pollock would later call "dripping".

  • Much has been written about Ernst's alter-ego Loplop, however I don't remember a book specifically focused on the Loplop works of art. Some rarely seen drawings and paintings are shown, along with an in-depth appraisal of Loplop's place and importance in Ernst's work and mind-set.

    That said, Spies is not the most compelling writer and you'll find yourself re-reading whole paragraphs because nothing really sticks. A good effort and now hard to find, so snap up a copy if you can find it. It's by no means perfect, however it IS a crucial link in Ernst's work.