Kunst schafft betörende Illusionen für unsere Sinne, die unser Gehirn zu einem erhabenen Glücksgefühl kata­lysiert. Bei den Gemälden «Grosser Meister» rezipiert der Betrachter das Ganze und übersieht oft Details, die im vor­liegenden Buch aus mehreren Tausend Kunstwerken aufge­spürt und aus der Perspektive der Dermatologie eingeord­net und vergleichend mit Krankheitsbildern interpretiert werden. Alterungsprozesse, Muttermale, Neubildungen, Veränderungen an Hautanhangsgebilden, Binde- und Fett­gewebe, an Gefässen und Nerven stören die Makellosigkeit des Inkarnats und wurden daher -wenn überhaupt- meist unbewusst ohne medizinische Sachkenntnis vom Künstler in der zweidimensionalen Form eines Portraits dargestellt. Hingegen werden bei den dreidimensionalen dermatolo­gischen Wachsmoulagen die krankhaften Veränderungen an der Haut in bester akademischer Absicht bewusst mög­lichst naturgetreu und wirklichkeitsnah abgebildet. Der Versuch einer Erkundung von Parallelen zwischen Hautdarstellungen einst und heute zeigt, dass sich am Per­fektionswahn und dem Streben nach Makellosigkeit des Inkarnates damals wie heute nichts geändert hat und die wirklichkeitsgetreue Darstellung häufig dem vermeintli­chen Schönheitsideal geopfert und alles Krankhafte oder Anormale verdeckt wird. Art creates beguiling illusions for our senses, which cat­alyzes our brain into a sublime feeling of happiness. In the paintings of "Great Masters", the viewer admires the whole painting and often overlooks details that are tracked down in the present book from several thousand works of art, clas­sified from the perspective of dermatology and interpreted comparatively with clinical pictures. Aging processes, moles, neoplasms, changes in skin appendages, connective and fatty tissue, vessels and nerves disturb the flawlessness of the in­carnate and were therefore - if at all - usually unconsciously depicted by the artist in the two-dimensional form of a por­trait without medical expertise. On the other hand, in the three-dimensional dermatologi­cal wax moulages, the pathological changes of the skin are deliberately depicted as realistically as possible with the best academic intentions. The attempt to explore parallels between skin representa­tions then and now shows that nothing has changed in the perfection mania and the striving for flawlessness of the in­carnate then as now and that the realistic representation is often sacrificed to the supposed ideal of beauty and every­thing pathological or abnormal is concealed.

DermARTologie/DermARTtology: Das Inkarnat Die Haut in der bildenden Kunst/Carnation Skin in the fine arts (German Edition)

Hug, Cathérine

Burg, Günter

Geiges, Michael

Arts & Photography

Springer

Claude Monet (1840-1926) was one of the first artists to move his studio out into the open air, creating works which continue to fascinate and inspire us today as much as they did his contemporaries. One of the founding fathers of Impressionist art, Monet's works consistently reflect the artist's profound love of nature. Many of his paintings were directly inspired by the gardens that played such an important role in his life--the garden at his house in S vres in the 1860s, those at his two homes in Argenteuil in the 1870s, followed by a garden at his estate in Vatheuil. Yet the most famous of Monet's gardens was the expansive park in Giverny, which inspired his masterful handling of light and color for more than thirty years and provided motifs for hundreds of individual paintings and series that remain immensely popular today--among them the masterpieces of his Water-Lilies series. This magnificent volume of full-page color plates is devoted to this central theme in the work of the French artist. It presents landscapes, still lifes, and portraits of people in natural settings from nearly all of Monet's creative periods--from his early Impressionist paintings of the 1870s to the Grandes Dacorations of the early 1900s. Also included are photographs of Monet's gardens, diagrammatic recreations of these spaces (based on the artist's paintings), several bills of delivery and planting instructions from horticulturalists.

Monet's Garden

Becker, Christoph

Leonhardt, Monika

Individual Artists

Hatje Cantz Publishers

Time is one of the great mysteries in the history of civilization. Its definitions are many and can be found in the most diverse disciplines, from religion to biology and economics, above all, of course, in physics, and as an well-established theme in art. Surprisingly, for all Switzerland' s reputation as a watchmaking nation, few art museums in the country have yet staged an exhibition on the subject of time that spans multiple eras and disciplines. The sensual journey of the Kunsthaus Zü rich through the history of time therefore now takes a comprehensive look at paintings, films, installations, performances, and real objects such as clocks from the 1550s to the present. Even though the clock as a time-measuring instrument is the starting point: temporal perspectives such as the biological, the paleontological, and even of personal sensations, are explored in depth in this show, curated by Cathé rine Hug, with works by, among others, Sinzo Aanza, Giacomo Balla, Black Qantum Futurism, Manon de Boer & George van Dam, Abraham-Louis Breguet, Pieter Claesz, Honoré Daumier, Jean Dubuffet, William Hogarth, Roni Horn, Monica Ursina Jä ger, On Kawara, Herlinde Koelbl.

ZEIT (TIME) – from Dürer to Bonvicini: Cat. Kunsthaus Zurich, in cooperation with Musée international d’Horologie, La Chaux-de Fonds, and Arts at CERN

Zweifel, Stefan

Nowotny PhD, Helga

Bello, Mónica

Safranski PhD, Rüdiger

Teichmann PhD, Josef

Vivas PhD, Sébastien

Collections, Catalogs & Exhibitions

Snoeck Publishing Company

With his brutal post-industrial music, theatrical makeup and controversial lyrics about serial killers and Satanism, shock rocker Marilyn Manson has stood as an icon for a generation of dispossessed teens. It is less well known that Manson has been painting pictures since 1999. Genealogies of Pain presents 30 of his paintings, executed over the past ten years. Manson's portraits of cartoonish characters are rendered in delicate pastel colors, but the subject matter accords with his notoriously morbid aesthetic: one figure gnaws off his own fingers, another wears a gas mask. This volume pairs Manson with filmmaker David Lynch, who has also made a living out of mining mankind's darkest carnal fears. Included here are stills from four of Lynch's early short experimental films, Six Men Getting Sick, The Grandmother, The Amputee and The Alphabet, which employ similar themes of physical and psychological trauma. An interview with Manson explores his techniques and relevant art historical traditions.

Marilyn Manson & David Lynch: Genealogies of Pain

Galloway, David

History & Criticism

Moderne Kunst Nürnberg

Surfaces, Depths is a representative selection of Thomas Ruff's works, over a period that already spans about 25 years, with projects ranging from portraits and interiors to telescope and space probe pictures and "nightsight" photography. Ruff incorporates an extremely wide range of everyday subjects into his experiments--people, architecture, planets, the Internet--and subjects them to all forms of camera technology, so that his work often seems to embody the history of the art as it develops. Ruff has a particular fascination with photographic techniques that appear to erase or leave out the artist's hand, techniques often designed for military or scientific purposes. In a recent series titled Zycles, for example, Ruff constructs his images with the help of mathematical formulas and computer technology, twisting two-dimensional surfaces into the three-dimensional space of vector graphics. Surfaces and Depths focuses on ten of Ruff's total of 18 projects to address this particular ongoing preoccupation with artistic detachment, and the polarities of surface and depth vision in the construction of images. In doing so, it makes the broadest assessment to date of the oeuvre of this tireless innovator.

Thomas Ruff: Surfaces, Depths

Fogle, Douglas

Matt, Gerald

Forster, Kurt

Photography & Video

Verlag für moderne Kunst

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