Uwe M. Schneede
Teoksen Surrealism tekijä
Tietoja tekijästä
Sarjat
Tekijän teokset
Die Geschichte der Kunst im 20. Jahrhundert: Von den Avantgarden bis zur Gegenwart (2001) 5 kappaletta
Kathe Kollwitz Grafiken & Plastiken 2 kappaletta
Max Ernst : Retrospektive zum 100. Geburtstag ; [anläßlich der Ausstellung 'Max Ernst-Retrospektive zum 100.… (1991) 2 kappaletta
Magritte E Il Surrealismo in Belgio: Galleria Nazionale d’Arte Moderna, Roma, 28 Aprile – 4 Luglio 1982 (1982) — Toimittaja — 1 kappale
George Grosz: vita e opere 1 kappale
George Grosz - Die Welt ist ein Lunapark 1 kappale
Family Values . Amerikanische Kunst der Achtziger und Neunziger Jahre. Die Slg. Scharpff in der Hamburger Kunsthalle (1996) 1 kappale
Kunst, Kamp, Kritik 1 kappale
Associated Works
Paris - Berlin 1900-1933 : Rapports et contrastes France-Allemagne 1900 - 1933 - Centre National d'Art et de Culture… (1978) — Avustaja — 38 kappaletta
Von Dürer bis Goya : 100 Meisterzeichnungen aus dem Kupferstichkabinett der Hamburger Kunsthalle (2001) — Esipuhe — 2 kappaletta
Merkitty avainsanalla
Yleistieto
- Syntymäaika
- 1939-01-03
- Sukupuoli
- male
- Kansalaisuus
- Germany
- Syntymäpaikka
- Neumünster, Schleswig-Holstein, Deutschland
- Ammatit
- museum director
- Organisaatiot
- Hamburg Kunsthalle
Kunstverein in Hamburg
Jäseniä
Kirja-arvosteluja
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Associated Authors
Tilastot
- Teokset
- 44
- Also by
- 4
- Jäseniä
- 310
- Suosituimmuussija
- #76,069
- Arvio (tähdet)
- 3.9
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- 1
- ISBN:t
- 72
- Kielet
- 5
Equally interesting are the excerpts from Grosz's poems and quotes from other writings, including his autobiography.
Overall, plenty of material from which the reader may develop personal views of Grosz and his work, rather than simply read about some expert's.
I'd not realised Grosz had moved to the U.S. immediately prior to the Nazi ascension to power in Germany, nor that he lived quite so late into the mid-20th century. Though he taught at several places in NYC, including his own studio (?), very little is made of his post-emigration work except to comment on how different and widely-held to be a failure it was. Grosz, himself, seemed to half-believe this.
Insight: Grosz changed his name from Georg to George partly in protest of the Prussian and Weimar war culture, and partly out of a romantic idealism for America. I often thought it was a crass Anglicisation whenever I read it that way in translation, and now I know better.… (lisätietoja)