An encounter with Gerhard Richter, the German artist who widened horizons in the relationship between painting and reality. From early photographic paintings, along with his famous RAF cycle, to late abstract paintings, experiencing Richter's work always offers us the unexpected and unseen. Where he once set out to liberate the medium from ideological ballast, today, faced with the overwhelming presence of digital images, he shows us the unsurpassed impact and intensity of painting. A definitive introduction to one of the greatest artists of our time spanning not only his entire career, but also 50 years of cultural, economic, and political events.

A colorful exploration of the life and work of Gerhard Richter An encounter with Gerhard Richter, the German artist who widened horizons in the relationship between painting and reality. From early photographic paintings, along with his famous RAF cycle, to late abstract paintings, experiencing Richter’s work always offers us the unexpected and unseen. Where he once set out to liberate the medium from ideological ballast, today, faced with the overwhelming presence of digital images, he shows us the unsurpassed impact and intensity of painting. A definitive introduction to one of the greatest artists of our time spanning not only his entire career, but also 50 years of cultural, economic, and political events.

Eine feinsinnige Erkundung von Leben und Werk Gerhard Richters Eine Begegnung mit dem deutschen Kunstler Gerhard Richter, der dem Verhaltnis von Malerei und Wirklichkeit neue Horizonte eroffnete. Von seinen fruhen, fotografischen Gemalden, uber den beruhmten RAF-Zyklus, bis zu den spaten abstrakten Bildern – im Erleben von Richters Werken begegnet man stets dem Unerwarteten und Ungesehenen. Einst angetreten, das Medium vom ideologischen Ballast zu befreien, zeigt er uns heute, angesichts der uberwaltigenden Prasenz digitaler Images, die unubertroffene Wirkung und Eindringlichkeit gemalter Bilder. Eine kenntnisreiche Einfuhrung uber einen der gro?ten Kunstler unserer Zeit, die nicht nur seine gesamte Karriere, sondern auch funfzig Jahre kultureller, okonomischer und politischer Ereignisse einbezieht.

Энди Уорхол (1928–1987) считается самым важным сторонником движения поп-арт. Критический и творческий наблюдатель американского общества, он исследовал ключевые темы потребительства, материализма, средств массовой информации и знаменитостей. Опираясь на современную рекламу, комиксы, потребительские товары и самые известные лица Голливуда, Уорхол предложил радикальную переоценку того, что составляло художественный предмет - иметь значение. Благодаря Уорхолу банка супа «Кэмпбелл» и бутылка кока-колы стали столь же достойными художественного статуса, как и любой традиционный натюрморт. В то же время Уорхол перенастроил роль художника. Заявляя лихо «Я хочу быть машиной», он планомерно сокращал наличие собственного авторства, работы с методами и образами массового производства, а также десятков помощников в мастерской, которую он окрестил «Фабрикой». Эта книга знакомит Уорхола с многогранным, плодотворное творчество, которое произвело революцию в различиях между «высоким» и «низким» искусством и объединило идеи жизни, производства и потребления, которые остаются центральными вопросами современного опыта.Andy Warhol (1928–1987) is hailed as the most important proponent of the Pop Art movement. A critical and creative observer of American society, he explored key themes of consumerism, materialism, media, and celebrity.Drawing on contemporary advertisements, comic strips, consumer products, and Hollywood's most famous faces, Warhol proposed a radical reevaluation of what constituted artistic subject matter. Through Warhol, a Campbell's soup can and Coca Cola bottle became as worthy of artistic status as any traditional still life. At the same time, Warhol reconfigured the role of the artist. Famously stating “I want to be a machine," he systematically reduced the presence of his own authorship, working with mass-production methods and images, as well as dozens of assistants in a studio he dubbed The Factory.This book introduces Warhol's multifaceted, prolific oeuvre which revolutionized distinctions between “high" and “low" art and integrated ideas of living, producing, and consuming that remain central questions of modern experience.

It was no more than eight years after the surrender of the Nazi government when Josef Heinrich Darchinger set out on his photographic journey through the West of a divided Germany. The bombs of World War II had reduced the country's major cities to deserts of rubble. Yet his pictures show scarcely any signs of the downfall of a civilization. Not that the photographer was manipulating the evidence: he simply recorded what he saw. At the time, a New York travel agency was advertising the last opportunity to go and visit the remaining bomb sites. Darchinger's pictures, in color and black-and-white, show a country in a fever of reconstruction. The economic boom was so incredible that the whole world spoke of an "economic miracle." The people who achieved it, in contrast, look down-to-earth, unassuming, conscientious, and diligent. And increasingly, they look like strangers in the world they have created. The photographs portray a country caught between the opposite poles of technological modernism and cultural restoration, between affluence and penury, between German Gemutlichkeit and the constant threat of the Cold War. They show the winners and losers of the "economic miracle," people from all social classes, at home, at work, in their very limited free time and as consumers. But they also show a country that looks, in retrospect, like a film from the middle of the last century. Of his color photographs, the Frankfurter Allgemeine Zeitung wrote, "they are exceptional contemporary documents indicating how swiftly the grayness of everyday life became infused with color again." “A critic once said that Darchinger could think with his eyes. The photographs in the book Wirtschaftswunder prove that he can also feel and speak with them.” - SPIEGEL.DE, Hamburg About the editor: In 1977, Frank Darchinger began his career as a photojournalist, while also assisting his father, Josef Heinrich Darchinger, with the classifying and updating of his legendarily vast and efficient photographic archive. It was through his endeavors that his father's work has become accessible to the general public. Today Frank Darchinger works as a freelance photographer in Bonn. About the photographer: Josef Heinrich Darchinger started working as a freelance photojournalist in 1952. Darchinger’s photographs began to regularly appear in reputable German print media starting in the mid-1960s. In his years as a photographer for Der Spiegel and Die Zeit, Darchinger had a formative influence on the magazines’ national news coverage of Bonn. He also presented his work at exhibitions and in collections of photographic portraits—for instance of Helmut Schmidt, Willy Brandt, Richard von Weizsacker, or Heinrich Boll. Darchinger received numerous awards, among which was the prestigious Dr. Erich Salomon Award from the German Photographic Association. About the author: Klaus Honnef is honorary professor of photography theory at the Kassel Art Academy. He was one of the organizers of documenta 5 and documenta 6 in Kassel, and has been the curator of more than 500 exhibitions in Germany and abroad. He has written numerous books, including TASCHEN’s Contemporary Art (1988), Andy Warhol (1989), and Pop Art (2004). Издание на английском, французском и немецком языках.

Пик поп-арта пришелся на 1960-е годы как бунт против господствующих подходов к искусству и культуре и превратился в массовый опрос современного общества, потребительской культуры, роли художника и того, что представляет собой произведение искусства. Сосредоточение внимания на вопросах материализма, знаменитости и средства массовой информации, поп-арт опирался на источники массового рынка, от рекламных изображений до комиксов, от самых известных лиц Голливуда до упаковки потребительских товаров, последним воплощением которых являются банки супа Кэмпбелл Энди Уорхола. Помимо того, что поп-арт бросал вызов истеблишменту, превознося такие популярные, банальные и китчевые образы, он также использовал методы массового производства, уменьшая роль единственного художника с помощью механизированных методов, таких как трафаретная печать. Среди известных художников, включая Энди Уорхола, Аллан Джонс, Эд Руша, Роберт Индиана, Джаспер Джонс, Роберт Раушенберг и Рой Лихтенштейн, эта книга знакомит с полным размахом и влиянием определяющего модернистского движения.Peaking in the 1960s, Pop Art began as a revolt against mainstream approaches to art and culture and evolved into a wholesale interrogation of modern society, consumer culture, the role of the artist, and of what constituted an artwork.Focusing in on issues of materialism, celebrity, and media, Pop Art drew on mass-market sources, from advertising imagery to comic books, from Hollywood's most famous faces to the packaging of consumer products, the latter epitomized by Andy Warhol's Campbell's soup cans. As well as challenging the establishment with the elevation of such popular, banal, and kitschy images, Pop Art also deployed methods of mass-production, reducing the role of the singular artist with mechanized techniques such as screen printing.With featured artists including Andy Warhol, Allan Jones, Ed Ruscha, Robert Indiana, Jasper Johns, Robert Rauschenberg, and Roy Lichtenstein, this book introduces the full reach and influence of a defining modernist movement.

When the kitschy, banal, and mass-market became art Peaking in the 1960s, Pop Art began as a revolt against mainstream approaches to art and culture and evolved into a wholesale interrogation of modern society, consumer culture, the role of the artist, and of what constituted an artwork. Focusing on issues of materialism, celebrity, and media, Pop Art drew on mass-market sources, from advertising imagery to comic books, from Hollywood's most famous faces to the packaging of consumer products, the latter epitomized by Andy Warhol's Campbell's soup cans. As well as challenging the establishment with the elevation of such popular, banal, and kitschy images, Pop Art also deployed methods of mass-production, reducing the role of the individual artist with mechanized techniques such as screen printing. With featured artists including Andy Warhol, Allen Jones, Ed Ruscha, Robert Indiana, Jasper Johns, Robert Rauschenberg, and Roy Lichtenstein, this book introduces the full reach and influence of a defining modernist movement.

Andy Warhol (1928-1987) is hailed as the most important proponent of the Pop art movement. A critical and creative observer of American society, he explored key themes of consumerism, materialism, media, and celebrity. Drawing on contemporary advertisements, comic strips, consumer products, and Hollywood's most famous faces, Warhol proposed a radical reevaluation of what constituted artistic subject matter. Through Warhol, a Campbell's soup can and Coca Cola bottle became as worthy of artistic status as any traditional still life. At the same time, Warhol reconfigured the role of the artist. Famously stating "I want to be a machine," he systematically reduced the presence of his own authorship, working with mass-production methods and images, as well as dozens of assistants in a studio he dubbed the Factory. This book introduces Warhol's multifaceted, prolific oeuvre, which revolutionized distinctions between "high" and "low" art and integrated ideas of living, producing, and consuming that remain central questions of modern experience.

Вашему вниманию предлагается издание, подготовленное к выставке "Герхард Рихтер. Абстракция и образ/Gerhard Richter. Abstraction and appearance".

Вашему вниманию предлагается издание, подготовленное к выставке "Герхард Рихтер. Абстракция и образ/Gerhard Richter. Abstraction and appearance".

An encounter with Gerhard Richter, the German artist who widened horizons in the relationship between painting and reality. From early photographic paintings, along with his famous RAF cycle, to late abstract paintings, experiencing Richter’s work always offers us the unexpected and unseen. Where he once set out to liberate the medium from ideological ballast, today, faced with the overwhelming presence of digital images, he shows us the unsurpassed impact and intensity of painting. A definitive introduction to one of the greatest artists of our time spanning not only his entire career, but also 50 years of cultural, economic, and political events.

An encounter with Gerhard Richter, the German artist who widened horizons in the relationship between painting and reality. From early photographic paintings, along with his famous RAF cycle, to late abstract paintings, experiencing Richter’s work always offers us the unexpected and unseen. Where he once set out to liberate the medium from ideological ballast, today, faced with the overwhelming presence of digital images, he shows us the unsurpassed impact and intensity of painting. A definitive introduction to one of the greatest artists of our time spanning not only his entire career, but also 50 years of cultural, economic, and political events.

Альбом "Berlin Museumsinsel", Gerhard R. Meyer, Gerhard Murza, бумага, печать, ГДР, 1980 г.

Альбом "Berlin Museumsinsel", Gerhard R. Meyer, Gerhard Murza, бумага, печать, ГДР, 1980 г.

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