オブリスト:1900年前後の彫刻、空間と抽象<br>Hermann Obrist : Skulptur, Raum, Abstraktion um 1900. Katalog zur Ausstellung im Haus des Museum für Gestaltung Zürich und in der Staatlichen Graphischen Sammlung, München, 2009. Dtsch.-Engl. (2009. 247 S. m. 180 Farb- u. SW-Abb. 26,5 cm)

オブリスト:1900年前後の彫刻、空間と抽象
Hermann Obrist : Skulptur, Raum, Abstraktion um 1900. Katalog zur Ausstellung im Haus des Museum für Gestaltung Zürich und in der Staatlichen Graphischen Sammlung, München, 2009. Dtsch.-Engl. (2009. 247 S. m. 180 Farb- u. SW-Abb. 26,5 cm)

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  • 製本 Hardcover:ハードカバー版/ページ数 240 p./サイズ 260 color plates and halftones
  • 言語 ENG
  • 商品コード 9783858812391

基本説明

Art historians regard Hermann Obrist (1863-1927) as one of the most influential founders and visionaries of the art nouveau movement in Germany. This vibrantly illustrated volume presents for the first time in English the entire scope of Obrist's work.

Full Description

Hermann Obrist (1863-1927) is regarded as one of the most influential founders and visionaries of the German 'Jugendstil' (art nouveau) movement. His oeuvre includes tapestries, ceramics, furniture designs, metal work but also sculptural works, such as monuments and fountains. Born in Switzerland and educated in Italy, Paris, Switzerland and Germany, Obrist settled in Munich, centre of the art nouveau movent in Germany, in 1895, where he made a strong career as a teacher, artist and pioneer of the reform of applied art.This book, accompanying exhibitions in Zurich and Munich, presents the entire range of Hermann Obrist's work in a large number of colour and b/w illustrations. The essays investigate Obrist's ideas and concepts, his inspiration for new abstract designs by natural forms and phenomenons, and on his monuments. The Museum Bellrive in Zurich owns almost all of Obrist's known sculptural works, of which many remained unrealised or have been destroyed during World War II. All his plaster models and a unique photographic documentation of both realised works and models were saved by his widow and daughter and bequeathed to the museum in 1944.
This collection is subject of a separate essay.

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