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Painting 20th Century
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Cover for Relations
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Ed. Cheryl Sim

Relations

Diaspora and Painting / La diaspora et la peinture
This richly illustrated volume explores the multiple and evolving meanings of diaspora, its condition, and its experiences as expressed through painting. The book, based on an exhibition held at the Phi Foundation brings together artists who address questions of diaspora from diverse perspectives, methodologies, and aesthetic languages.
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Cover for Xenia Hausner
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Ed. Elsy Lahner et al.

Xenia Hausner

True Lies Englische Ausgabe
Xenia Hausner ranks among the most important Austrian painters of our time. This splendid volume focuses on the aspect of stagecraft which characterizes all her works. Starting from the early paintings of the 1990s up to her moving Exiles series, the publication lures us into a female world filled with mysterious interpersonal relationships.
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Cover for My Generation
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Ed. Rafael Jablonka et al.

My Generation

The Jablonka Collection
The Jablonka Collection is regarded as one of the highest-profile holdings of American and German art of the 1980s. In this catalogue the art dealer, gallerist and curator Rafael Jablonka (*1951) provides for the first time an insight into his wide-ranging collection, which is dedicated primarily to artists of his own generation.
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39,90 €
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Cover for Helmut Sturm
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Ed. Pia Dornacher et al.

Helmut Sturm

Subverting the Real
Helmut Sturm’s paintings radiate powerful colours and forms, yet are simultaneously both lyrically tender and poetical. He developed his individual pictorial language in a study of Cubism and Art "Informel" as well as artists like Max Beckmann, Asger Jorn and Willem de Kooning. The publication pays tribute to one of the most important witnesses of abstract-expressive painting in Germany.
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Cover for Hilti Art Foundation. The Collection
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Ed. Hilti Art Foundation

Hilti Art Foundation. The Collection

Vol. 2: Art from 1950 to the Present Day
The private art collection of the Hilti Art Foundation includes over 200 top-quality paintings, sculptures and photographs from Classical Modernism to the present day. Volume 2 of the two-part catalogue of the collection presents 120 selected works from the middle of the twentieth century to the present day, from Josef Albers to Thomas Struth.
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Cover for Johannes Itten and Thun
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Ed. Helen Hirsch et al.

Johannes Itten and Thun

Nature in Focus
The Bauhaus master Johannes Itten is one of the prominent protagonists of early Modernism in twentieth-century art. Few people are aware of the close links between his beginnings as an artist and his experience of landscape and nature in the town of Thun and Lake Thun.
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Cover for Folklore & Avant-Garde
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Ed. Katia Baudin et al.

Folklore & Avant-Garde

The Reception of Popular Traditions in the Age of Modernism
The publication examines in depth the influence of folkloric traditions on the pioneers of Modernism in the develop- ment of their new artistic language. Craft objects and folk art are contrasted with masterpieces by artists of the avant-garde like Josef Albers, Sonia Delaunay, Johannes Itten, Vasily Kandinsky, Ernst Ludwig Kirchner, Pablo Picasso, Charles Sheeler and Sophie Taeuber-Arp.
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Cover for We Haven’t Seen Each Other For So Long
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Ed. Heinz R. Böhme

We Haven’t Seen Each Other For So Long

Art of the Lost Generation. The Böhme Collection
Heinz R. Böhme has been collecting artworks of the Lost Generation for more than twenty years. The main focus of his private collection in Salzburg is the recognition of more than eighty artists whose creative work was massively restricted under the National Socialist regime.
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Cover for Kairouan
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Wilhelm Hausenstein

Kairouan

Or how Paul Klee became a Painter
The impressions which Paul Klee collected on his journey to Tunisia in 1914, and especially to the city of Kairouan, were of fundamental significance: »Colour and I are one.  I am a painter.« A few years later, in 1921, Wilhelm Hausenstein placed his friend Paul Klee at the centre of his book Kairuan and was thus one of the first people to recognise the artist’s genius.
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Cover for Elvira Lantenhammer
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Ed. Zweigstelle Berlin

Elvira Lantenhammer

Color Siteplan
Elvira Lantenhammer’s paintings are colour events which rely to a considerable extent on intensity of colour. The choice of colour and its application take place intuitively in an examination of the effects of colours and their interaction with regard to a specific location. The term Site Plan, under which the abstract works are subsumed, serves here as an open action grid which conquers new spaces for the colours.
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