Magic realism : art in Weimar Germany 1919-33
著者
書誌事項
Magic realism : art in Weimar Germany 1919-33
Tate Publishing, 2018
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
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注記
Exhibition catalogue
Catalog of the exhibition held at Tate Modern, London, July 30, 2018-July 14, 2019
Chronology: p. 98-101
Exhibited works: p. 106-109
Includes index
内容説明・目次
内容説明
This elegant publication draws upon the German and Austrian paintings of the George Economou Collection to explore the vibrant art of magic realism. The term is today comonly associated with the twentieth-century literature of Latin America, but it was first coined (alongside the phrase `post- expressionism') by the German artist and critic Franz Roh in 1926, to describe a shift from the spiritual and anxious art of the Expressionist era, towards something more directly located in actuality. Magic realism can be seen as parallel to, and overlapping with, Neue Sachlichkeit (or `new objectivity'), a movement associated with the likes of Otto Dix, George Grosz and Christian Schad. As the term implies, the movement encompassed aspects of the visionary beyond the objective. Beyond the studios of those painters `returning' to realism, lay connections with a dispassionate photographic style as well as realism and satire in literature and theatre, cabaret and cinema. The Weimar era was a period not only of staggering financial instability, but also of extraordinary artistic creativity. Extreme political and economic conditions seemingly firing imaginative production in the context of mass protests and the rise of popular, public entertainments. Featuring approximately around 75 illustrations, Magic Realism will present four thematic essays exploring some of the central concerns of Weimar culture. `The Circus' will examine the social mixing engendered by mass entertainment; `The Street and The Studio' will demonstrate the inter-connections between public to private spaces in treatment and subject matter; the significant upsurge in religious feeling in these uncertain years will be reviewed in `Faith'; while `The Cabaret' returns to the profane, presenting the the unusual characters of the underground demi-monde.
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