Text by Judit Bozsan, Gregor Langfeld, Christina Lodder, Doris Wintgens Hötte.
At the beginning of the twentieth century, two avant-garde movements emerged that sought to change the world: Expressionism and Constructivism. Utopia 1900–1940 documents the two schools and the work they produced. The leaders of these movements--Franz Marc, Ernst Ludwig Kirchner, El Lissitzky, Vladimir Tatlin, Theo van Doesburg and others--believed they were standing at the threshold of a new era, and they sought to shape its reality in a radical way. Together they forged the utopian ideal of "A New Man in a New Society"--a total concept that encompassed art, design and architecture, from paintings to skyscrapers. And yet, philosophically and aesthetically, the two movements were diametrically opposed. For the Expressionists, individual freedom was paramount; for the Constructivists, the individual was part of a larger whole. This amply illustrated volume explores the philosophical, aesthetical and political currents that informed these movements, and the tensions between them.
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FORMAT: Pbk, 8 x 10 in. / 134 pgs / 230 color. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $60 ISBN: 9789462081024 PUBLISHER: nai010 publishers AVAILABLE: 4/30/2014 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: NA LA ME
Published by nai010 publishers. Text by Judit Bozsan, Gregor Langfeld, Christina Lodder, Doris Wintgens Hötte.
At the beginning of the twentieth century, two avant-garde movements emerged that sought to change the world: Expressionism and Constructivism. Utopia 1900–1940 documents the two schools and the work they produced. The leaders of these movements--Franz Marc, Ernst Ludwig Kirchner, El Lissitzky, Vladimir Tatlin, Theo van Doesburg and others--believed they were standing at the threshold of a new era, and they sought to shape its reality in a radical way. Together they forged the utopian ideal of "A New Man in a New Society"--a total concept that encompassed art, design and architecture, from paintings to skyscrapers. And yet, philosophically and aesthetically, the two movements were diametrically opposed. For the Expressionists, individual freedom was paramount; for the Constructivists, the individual was part of a larger whole. This amply illustrated volume explores the philosophical, aesthetical and political currents that informed these movements, and the tensions between them.
