Review by Choice Review
Generously produced and superbly illustrated, this veritable tome presents an interesting and generally effective argument for Romanticism as an artistic dynamic spanning two centuries. It accompanies a comprehensive exhibition of German art and culture in Britain celebrating Reunification, beginning at Edinburgh in the National Gallery of Scotland where worked Keith Andrews, author of the first major study in English of a seminal phase of German Romanticism, The Nazarenes (CH, Nov'64). The chief editors include Keith Hartley, Assistant Keeper at the Scottish National Gallery of Modern Art, who compiled the introductory essay that rehearses the theoretical basis for such a broad view of Romanticism, and William Vaughan, who has written extensively on German 19th-century art, notably German Romanticism and English Art (London, 1979). Hartley's wide--even discursive--approach, sustained by suitably focused information and pictorial analysis, recurs in many of the succeeding, quite short, essays arranged into five part-aesthetic, part-chronological sections. Mainly by German scholars, these are similarly well written and together form a fascinating mosaic of comprehension that, in encompassing a diverse historical and ideological discourse, adds much to the understanding of German, and Western, art of the 19th and 20th centuries. Thus it will become an important resource for graduate students and faculty. R. W. Liscombe; University of British Columbia
Copyright American Library Association, used with permission.
Review by Publisher's Weekly Review
This magnificent volume is a major reassessment of the Romantic impulse in German art, from the mystical, eerie landscapes of Caspar David Friedrich to Joseph Beuys's modernist utopian visions and Sigmar Polke's hallucinatory comedies. The catalogue of an exhibition at the Scottish National Gallery, it weds essays by British and German art historians and curators with 340 plates (185 in color). Beginning around 1800, Romantic artists sought a divine spirit in nature, yearned for fellowship and lost innocence and mapped the unity of the cosmos. This sweeping survey traces these themes from the Nazarene circle's medievalizing narrative pictures in the early 1800s to Bauhaus functionalism; from Arnold Bocklin's symbolist dreamscapes to Anselm Kiefer's myth-laden canvases; and in works by Philipp Otto Runge, Franz Marc, Otto Dix, Ferdinand Hodler, Paul Klee, Kurt Schwitters, Georg Baselitz and others. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
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