Fotos: Enric Boixadós
Fotos: Enric Boixadós
till January 17, 2016.
Graphics from the Kunstpalast Museum’s collection, Duesseldorf.
Pablo Picasso is, without a doubt, the most famous artist of the 20th century. The artist was not only active as a painter and sculptor, but also left behind an extensive collection of graphic works. From his first etching in 1904 until the last years of his life, prints remained an integral part of his work, totalling eventually 2.400 images.
One is amazed not only by the magnitude of this productivity, but also by the technical diversity of his graphics. Picasso made use of the full spectrum of graphic techniques, ranging from drypoint, aquatint, lithography and linocut, to rare and complex methods such as sugar lift and experimental combinations of various techniques.
The themes of his graphics mirror his entire painting universe: figurative representations with portrait characteristics appear alongside still lives, animal illustrations and allegorical and mythological scenes. Most of the time, they were linked to his personal fortunes, often a direct reflection of his daily routine. Whenever he was inspired by literary works, he took the freedom of reinterpreting the original texts and gave characters, such as the bull-man „Minotaur“, both positive and negative features.
With a total of 73 prints, the Stiftung Kunstmuseum Duesseldorf (Duesseldorf Art Museum Foundation) possesses a graphic cross-section of most of the artist’s creative phases from the 1920s on. Among these are unique prints, such as the rare 1924 etching „Maternité“ (Maternity) or the 1929 figure (Bather Opening a Cabin), as well as series and portfolios such as the illustrations for the story „Chef d’oeuvre inconnu“ (1952) by Honoré de Balzac, or prints from the famous „Suite Vollard“, a series of graphics purchased from Picasso by the art dealer Ambroise Vollard, which was only published after Vollard’s death at the end of the 1940s.
The portfolio of bullfighting depictions „La Tauromaquia“ (1959) – inspired by José Delgado y Galvet’s book which explained, for the first time in 1796, the process of bullfighting – is complete, as well as the enigmatic series „Poèmes et Lithographies“ (1960), where, on each plate, Picasso inscribed individual, somewhat surreal handwritten texts which contrast with the masterful illustrations.
In a 1968 multiple-figures scene, which is part of a vast graphic series, the 87-year old artist reunites once again the themes of his painting theatre: painter and model, the different stages of life, allegories of freedom (the lamb), masculine strength (the horse), tamed by the tender gesture of the figure on the right, and erotic obsessions – so to speak the banishment of fear, just a few years before the artist’s death, and the longing for mythical happiness.
On the occasion of the exhibition at the Museum im Kulturspeicher in Wuerzburg, the collection of Picasso’s graphic works from the Kunstmuseum Duesseldorf will be published for the first time. A selection of photographs, taken by Hubertus Hierl in 1966 when Picasso was visiting a bullfight in Arles, complete the exhibition.
The Kornhaus, a restaurant and pub, was erected in 1929–30 on the banks of the Elbe near the steamship pier, and commissioned by the city of Dessau and the Schultheiss-Patzenhofer Brewery. The name commemorates the granary that stood there from the mid-1800s until the 1870s.The Kornhaus was planned by Bauhaus architect Carl Fieger and built using a mix of construction techniques with brickwork walls and a reinforced concrete frame. The individual cubic corpora are grouped around the kitchen and the catering block. The upper floor included a dance hall and a restaurant area from which one reached the banks of the Elbe. The front, semicircular building in the west was originally conceived as an open balcony, but in mid-construction, was closed in with glass. The basement floor featured a bar with a separate entrance.In spite of several refurbishments, many of the Kornhaus’ original features are still preserved. Renovated in 1996, the building is today once more open to the public – a historically resonant meeting place in one of Dessau’s most attractive places.
Until September 13, 2015
Karl Lagerfeld is one of the world’s most renowned fashion designers and widely celebrated as an icon of the zeitgeist. Karl Lagerfeld. Modemethode at the Art and Exhibition Hall of the Federal Republic of Germany is the first comprehensive exhibition to explore the fashion cosmos of this exceptional designer and, with it, to present an important chapter of the fashion history of the twentieth and twenty-first centuries.
Karl Lagerfeld is known for injecting classic shapes with new life and for taking fashion into new directions. For the past sixty years – from 1955 to today – Lagerfeld’s creations have consistently demonstrated his extraordinary feel for the ‘now’. Right from the start of his career, the designer has worked for luxury houses such as Balmain, Patou, Fendi, Chloé, Karl Lagerfeld and Chanel. As creative director and chief designer of Chanel since 1983, he is regarded among experts as the sole legitimate successor to the founder and fashion legend Coco Chanel. Since 1965 Lagerfeld has been designing two – of late even four – collections per year for the Italian house of Fendi, not to mention his own eponymous label.
Karl Lagerfeld is celebrated as a fashion genius not only for continuously revitalising classics like the Chanel suit, but also for endlessly reinventing himself. Having realised by the early 1960s that the future of fashion could not lie in haute couture alone, Lagerfeld embraced the younger ready-to-wear (prêt-à-porter) lines: „Fashion that does not reach the streets is not fashion“ (Lagerfeld). In addition to clothing, Lagerfeld designs a wide range of accessories to accompany his collections. Equally progressive in matters of distribution and marketing, he advocates bold ideas and a paradigm change in the fashion industry. Since the 1990s Lagerfeld has been complementing his work for luxury brands with collaborations with companies that produce affordable clothes for mass audiences. In 2004 he was the first well-known designer to create an exclusive collection for the Swedish fashion retailer H&M – a successful concept that has since continued with other designers, among them Stella McCartney, Comme des Garçons and Versace.
‘Modemethode’, Karl Lagerfeld’s ‘fashion method’, is his ambitious, all-encompassing approach: From the initial sketch to the finished garment, from the accessories, the architectural setting and music of the fashion shows, to the photographs and graphic design of press material, advertising, catalogues and window displays – every last little detail is devised by the designer himself.
The Film! Click here!
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Photos: David Ertl, 2015
Courtesy of © Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH
Christina Haas is a painter. Not a normal painter! Not at all! She doesn’t work with a paintbrush, but with her body. Yes, with her body! I would consider her as a body painter or a body performancer! Well, it is difficult to describe the way how she does it. Just have a look at the photos and you might understand better.
In her actual exhibition she shows also a large size picture with the title: „The Pregnant Woman“. During the last week of her friend’s pregnancy she portrayed her body. Today Baby Iva is visiting the exhibition together with her parents Elvira and Roman. The small girl doesn’t know that she is the star of the day! In her normal life Christina is also a mother and works as a reporter at Bayerischer Rundfunk (BR), a television and radio station. She lives in Margetshoechheim near Wuerzburg, Germany. Her actual exhibition is till the end of September 2015. You are welcome to visit. By appointment only.
HENNEBERGER und Partner – Steuerberater
Christina Haas: email@example.com
Permanent collection at Buchheim Museum.