Fritz Riedl: Bildteppiche / Tapestries. Mit Werkverzeichnis / With Work Catalog. Mit Beitragen Von: / With Articles By: Irmgard Bohunovsky, Friedrich Daniels, Fritz Riedl, Franz Smola Und Ewald Walser

Smola, Franz

Arts & Photography

Vandenhoeck + Ruprecht

<p>At the beginning of the twentieth century, Vienna was one of the six largest cities in the world, recently transformed by rapid industrialization, and by successive waves of immigration from various corners of the Austro-Hungarian Empire. Its lively cabaret and coffeehouse culture was abuzz with creative zeal and played host to the most exciting developments in European culture, from psychoanalysis to the earliest incarnations of Austrian modernism, above all the Viennese Secession and the Wiener Werkstätte. Hatje Cantz's opulent publication on turn-of-the-century Vienna examines the years 1890-1918, placing at the center of those maelstrom decades the openly sexual portraits and landscapes of Gustav Klimt and the erotically contorted figurations of his protégé, Egon Schiele. Also profiled are the portraits of the young Oskar Kokoschka, self-portraits by Richard Gerstl, paintings by composer and painter Arnold Schönberg and works by many other artists, architects, furniture designers and craftspeople from the Secession, the Werkstätte and beyond: Adolf Loos, Otto Wagner, Koloman Moser, Joseph Maria Olbrich and Josef Hoffmann. Essays by Christian Meyer, Franz Smola, Barbara Sternthal and Beate Susanne Wehr set this motley assembly of artists and craftsmen in historical and theoretical context, showing how they paved ways for the Bauhaus and De Stijl movements to come.</p>

Vienna 1900: Klimt, Schiele, and Their Times: A Total Work of Art

Meyer, Christian

Wehr, Beate Susanne

Reference

Hatje Cantz

<p>The core oeuvre of Austrian painter Egon Schiele (1890–1918) was produced within barely a decade, at the beginning of the twentieth century. His famous nudes probed the existential core of human experience. The paintings of British artist Jenny Saville (born 1970) are equally intense, with their physicality and confrontational stance. This catalogue brings the work of these two artists together for the first time. The stylistic and thematic proximity of the "body-landscapes" and portraits by these two young painters is revealed, despite the decades separating their work and their varying use of the brush. The paintings and drawings of both artists lend the human body an insistent corporeality, rendered in every detail. In Schiele's self-portraits, usually small-format works, the pose, the accentuated view from below and his gestural style give the images a visual impact equal to the forceful punch of Saville's giant-format paintings.</p>

Egon Schiele, Jenny Saville

HARRISON, Martin

Bätschmann, Oskar

Leopold, Diethard

Sáez, Helena

Wick, Oliver

History & Criticism

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