Biedermeier : the invention of simplicity
Author(s)
Bibliographic Information
Biedermeier : the invention of simplicity
Milwaukee Art Museum , Hatje Cantz, c2006
1st ed
- : trade ed., clothbound with dust jaket, English
- : trade ed., clothbound with dust jaket, German
- : museum ed., softcover, alk. paper
- Other Title
-
The invention of simplicity
Available at 8 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
-
Doshisha University Library (Imadegawa)
: trade ed., clothbound with dust jaket, English702.34||O9283152204286
-
Meiji Gakuin University Library図
: trade ed., clothbound with dust jaket, English709.43:O910106507080
Note
Catalog for the exhibition held at Milwaukee Art Museum, Sept. 16, 2006-Jan. 1, 2007; Albertina, Vienna, Feb. 2-May 13, 2007; Deutsches Historisches Museum, Berlin, June 8-Sept. 2, 2007; Musée du Louvre, Paris, Oct. 15, 2007-Jan. 15, 2008
Includes bibliographical references
Description and Table of Contents
Description
Gottlieb Biedermeier, a teasing middle-class papa best known for his appearances in a Munich satirical weekly, came to fame in the 1840s. A "god-loving everyman," he represented the typical German citizen, more interested in a comfortable home and a convivial family than political activism. The poets who created him, needling the bourgeoisie and signing their own work "Biedermeier," weren't thinking about the elegant housewares that now bear their pseudonym, varied by a letter. By the end of the nineteenth century, however, their alter ego had retroactively given his name to the aesthetics and philosophies of the period his attitudes suited so well, from 1815 to 1835. Biedermeier arts and crafts were orderly, frugal and simplistic. They tended to pare forms to their essentials, merging the useful with the beautiful. Eighteenth-century gilding and frills were stripped away in favor of the natural beauty of materials and shapes. What began as an intellectual critique soon developed into a new model for living. Biedermeier examines Biedermeier painting, furniture and decorative arts as a style and a cultural attitude. Visual arts of the period, which are still largely unstudied as distinct from Romanticism or the Nazarenes, are highlighted here in the work of Georg Friedrich Kersting and Eduard Gaertner. With nearly 300 outstanding examples of German, Austrian and Czechoslovakian paintings, furniture, related decorative arts and works on paper, this is a superb document of the innovative character of the period and its importance as a precursor to modernism.
by "Nielsen BookData"