Published by Moderne Kunst Nürnberg. Text by Helmut Friedel, Arnulf Rainer.
Cosmos offers a selected overview of Austrian painter Arnulf Rainer (born 1929). The selection ranges from the artist’s earliest abstractions and finger paintings to his silent, large-format “overpaintings” from the late 1950s to the early 1970s, to the delicately colored “veil paintings” of the 1990s.
A pre-eminent master among Austrian painters, Arnulf Rainer (born 1929) has made a métier of exploring the form of the cross, in countless permutations--from Greek cross to anthropomorphic cross to crucifix--and in photography, painting, works on paper and sculpture. This volume surveys this defining theme across Rainer's 50-year career.
Published by DuMont. Text by Jean-Michel Foray, Arnulf Rainer.
Among the signature motifs of the work of Arnulf Rainer (born 1929) is the human face: the artist's own face, death masks and images of faces derived from art history. This volume traces the theme throughout Rainer's half-century of painting.
Arnulf Rainer (born 1929) attained international recognition by painting over his own works and those of others, the first artist to affirm this practice as a form. Published on the occasion of the opening of the Arnulf Rainer Museum in Baden, this monograph is the first volume to cast light on Rainer's influential early work.
Published by Verlag für moderne Kunst. Text by Friedhelm Mennekes, Rainer Michael Mason, Arnulf Rainer.
Since the 1950s, German artist Arnulf Rainer (born 1929) has made painterly elaborations on the form and symbolism of the cross. This splendid catalogue brings together the entire ensemble of works for the first time--61 etchings, executed between 1956 to 2009, reproduced in full color.
Published by Hatje Cantz. Edited by Karl Pfefferle. Essay by Robert Fleck.
Arnulf Rainer, born in 1929 in Baden, near Vienna, is one of the most important European artists to have emerged after 1945. He is best known for his gestural style and overpaintings of works of his own and others, including some photographs, but for the past three years, Rainer has been taking photographs of his own. Arnulf Rainer: Photographs is the first publication to present these little-known works, all 79 that exist to date. Instead of "depicting" something, each photograph--or each "non-photo full of question marks"--presents riddles. Set up like paintings, but created using "estranged photographic means," as Robert Fleck has written, these are formal references to Rainer's abstract painting: by blurring areas of the image, using indeterminate spatial coordinates, and partially covering the aperture, Rainer creates photographs that seem unintentional and autonomous, and then superimposes them with his trademark iconoclastic gestures.
Published by Hatje Cantz. Edited by Helmut Friedel. Essay by Friedhelm Mennekes.
Arnulf Rainer--the best-known and most important Austrian artist of the past fifty years--forged a completely new path in European art with his "overpaintings": paintings and drawings done "over" already existing works. Between 1995 and 1998 Rainer produced a remarkable series of Bible illustrations, in which he engaged with originals ranging from 10th-Century illuminated manuscripts to 19th century works. These included pieces by such artists as Giotto and Sandro Botticelli, Giovanni Bellini, and William Blake, as well as Romanesque ceiling decorations, Gothic stained-glass windows, miniatures from the illuminated Wenceslas Bible, woodcuts from 15th century incunabula, and the 1868 Bible illustrated by Gustave Dorª. In his responses to these works Rainer displays the full spectrum of his palette of "overpainting" techniques--from the most delicate of over-drawings to dense paintwork that virtually obliterates the original. In this volume all 160 of Arnulf Rainer's cycle of Bible illustrations are reproduced in large-format plates, accompanied by texts from the authorized version of the Bible from the year 1611--as well as informative art-historical data and detailed commentaries on the artist's reworkings.