This major new handbook describes and summarizes the state of the art in rubber technology. It includes information on properties, processes and applications for both natural and synthetic rubber products. Each chapter details data on monomer production, polymerization, molecular structure, recipes for compounds, compounding and processing, vulcanization, and properties of rubber products, in addition to chemicals for mastification, vulcanization, stabilization, reinforcing and filling, processing aids, and more. Chemists, engineers, and physicists in the rubber producing and processing industry will find especially notable the data on test results and analyses, the Table of Trade names, and the more than 1,000 references to related literature.

Rubber Technology Handbook (Hanser Publishers)

Werner Hofmann

Wilfried Hofmann

Oxford University Press

"Splendid monograph, the first of major proportions in nearly thirty years .ever thoughtful, opening the door to Friedrich's world that much wider."Chicago Tribune Werner Hofmann vividly demonstrates Caspar David Friedrich's extraordinary ability to reproduce the natural world in faithful detail, while at the same time imbuing it with spiritual and religious significance. Caught between the near and the distant, the finite and the infinite, his human figures find a space in which to engage in the thoughtful contemplation of nature and the divine. Carefully placing the artist in a wider context, Hofmann examines contemporary judgments and influences on Friedrich's work. The beautiful illustrations include many of Friedrich's drawings and watercolors as well as over ninety of his works in oils. 193 illustrations, 150 in color.

Caspar David Friedrich

Biographies & Memoirs

Thames&Hudson

Dans ce volume abondamment illustré, Werner Hofmann nous offre un vaste panorama de l’œuvre peint et gravé de Francisco Goya, introduisant le lecteur à la compréhension d’un univers visuel d’exception qui, dans son ambiguïté foncière et ses insondables énigmes, tient encore lieu aujourd’hui de métaphore du « monde comme asile de fous » : Enfer de l’Au-delà et enfer terrestre y sont intimement mêlés.\nLes pionniers et les novateurs de la fin du XVIII e siècle – et Francisco José de Goya y Lucientes (1764-1828) fut certainement l’un des plus remarquables d’entre eux – portent la marque d’une équivocité troublante, sur le plan à la fois moral et esthétique. Tel est ici le constat de Werner Hofmann, qui retrace d’un geste éclatant la vie et l’œuvre du peintre espagnol. Affirmant avec fierté qu’« il n’y a pas de règles en art », Goya rompt avec la tradition jusque dans ses peintures religieuses et déroule un extraordinaire et gigantesque éventail qui va des aimables cartons de tapisserie de sa jeunesse, avec tout le raffinement et la variété formelle du rococo, jusqu’aux écrasantes « Peintures noires » de ses dernières années, en passant par les séries graphiques des Caprices, des Désastres de la guerre et des Disparates, mais aussi par les genres du portrait – où l’artiste fait preuve d’une pénétration peu commune, qu’il s’agisse de peindre l’individu ou la société –, de la chronique de mœurs et du journal intime, dans ses albums de dessins. À suivre les clairvoyantes hallucinations du peintre, on comprendra que le monde est pétri de choses irrationnelles et absurdes. Goya en montre les abîmes, dans leur effroyable beauté et sans chercher à mettre un frein à leurs atrocités barbares, qu’il accentue au contraire par les sortilèges de son art. Inouïe et troublante, encore vivace aujourd’hui, la modernité de ses œuvres tient tout entière à cet acte de création qui, sous la gouverne de la Raison, enfante un monde insensé. Cet ouvrage est disponible dans un coffret.

Goya: vom Himmel durch die Welt zur Hölle

Beck

Anti-abstractMarkus Lüpertz has never believed in the purely representational purpose of art, but, in his own words, has always been »searching for the potential picture« and thus doesn’t feel bound by any one style. Precisely for this reason, he has succeeded in freely creating works from a vast fund of artistic and historic-cultural material, devising coded paintings that bear his emphatic signature and which are themselves redolent of a mature and energetic freedom, which is in turn regarded by many a generation of artists as exemplary. In this way, younger artists, such as Peter Doig, Tal R, or Thomas Houseago, have been avid fans for some time now. The exhibition, and the comprehensive accompanying catalogue, set out to investigate the »large gesture«, as well as to explore Lüpertz’s conscious play with the role of the artist, duly presenting his multifaceted oeuvre and his passion and intellectual rigour in a large selection of 150 paintings and sculptures, including a number of early works, which still have the capacity to surprise one today. They range from the early examples of the »dithyrambic«, »anti-abstract« painting from the 1960s, with their proximity to pop art, to the intensive engagement with the mythological and classical canon of themes during the past few decades, all of which is impressively accompanied by an extensive section containing photographic documents. The retrospective exhibition held at the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn builds on a successful series of exhibitions featuring leading German painters over the past twenty years, placing Lüpertz alongside artists such as Gerhard Richter, Sigmar Polke, and Georg Baselitz. Exhibition: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 09/10/2009–17/01/2010

Markus Lüpertz: Hauptwege und Nebenwege: Eine Retrospektive. Bilder und Skulpturen von 1963 bis 2009

Arts & Photography

Richard Shiff

Eric Darragon

Robert Fleck

Siegfried Gohr

FABRICE HERGOTT

History & Criticism

Snoeck

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Books by Werner Hofmann