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Teodoro Wolf Ferrari (1878-1945)

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It is hard to find work by Teodoro Wolf Ferrari, but here and there in Italy there is a chance you wil encounter his works in local Museums. Are his paintings known outside Italy….NO!

TWF always stayed a typical Italian painter who’s works were very rarely exported outside Italy, but very slowly his works becomes known outside Italy too. His works always remind me a little of Hodler and Klimt, but maybe this is because they were produced in the same time bracket as the ones by these 2 artists.

on the left Ferrari and on the right Klimt.

 

You even can distinguish an influence of Scandinavia paintings, but i doubt that he ever visited Scandinavia. It is rare to find publications on Ferrari, but ftn-books has one available at www.ftn-books.com

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Egon Schiele …The Self portraits

 

Yesterdays blog inspired me to write a blog on the self portraits of Egon Schiele. Schiele himself was his most reliable model and in the short period he made his art he always made studies of himself and really stroke a pose.  Studies of his head and studies of full length figures all show the different poses he took. In many of these studies/portraits his head or body is distorted in some way making the pose exceptional and really typical for Egon Schiele. Some of these selfportraits are available through www.ftn-books.com. I bought these at the time there was a “Schiele Klimt Klee” exhibition at the Gemeentemuseum Den Haag and these prints were made according to the highest standards by the printshop of the Gemeentemuseum. Best of all …their size is 1 on 1 with the original drawing which makes the print almost perfect.

 

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Friedensreich Hundertwasser (1928-2000)

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The first time i encountered Hundertwasser his work was in an exhibition at the Stedelijk Museum Amsterdam and the first thought was…..he copies Klimt!

At that time i did not not know much about him, but when you read more and see more of his works you begin to realize that Hundertwasser is as original as Klimt was.

The difference is some 70 years between these 2 artists, but the background, influences and education are all well rooted in the city of Vienna from the beginning of the 20th century. This explains the similarities which one can find in many cases between the works by Klimt and Hundertwasser.

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If ever you visit Wien , the Hundertwasser Haus is an absolute must. There are so many aspects about the house and its architecture , that it is impossible to describe it in this blog. However there is a great article on the architecture on the house on the site of the Hundertwasser House;

http://www.hundertwasser-haus.info/en/blog/2011/07/19/the-house-should-not-be-measured-by-normal-standards/

and yes… for the enthousiast collector, ww.ftn-books.com has some nice publications in its inventory including the Wim Crouwel designed Stedelijk Museum one

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Edvard Munch (1863-1944)…kisses compared

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I do not know exactly what it is that draws me into the paintings by Munch. I tried to analyze their attraction for me. It is not the technique, nor the great way they are painted, but what i like about them is the use of color and the drama they radiate. Take for instance the famous Scream or Puberty. Both ooze atmosphere and “action” in a surreal colored setting.

Or compare the kiss by Much with the kiss by Klimt. The Munch kiss is a sensuous one, whereas the Klimt kiss is styled . Both done in the same decade, but for me the kiss by Munch is more authentic. Certainly the Klimt Kiss is more appealing, because the time we visited the Belvedere and saw it in reality in its special room with perfect lightning it was amazing, but the Munch kiss is a real kiss and must be admired just for that reason.

Munch is still not the household name as he should be, but that is a matter of time. Just a few decades and he will be known all over the world. Not only for a few iconic paintings , but for his complete oeuvre. Munch publications are available at www.ftn-books.com

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Koloman Moser (1868-1895)

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Because the Leopold Museum as a whole was a disappointment (see yesterdays blog), I focused on the other art inside the museum. I had seen all the paintings by Schiele and Klimt before, but were less familiar with the beautiful Munch and excellent series of Koloman Moser paintings which were exhibited. Especially the series by Moser were impressive and showed the transition into the more Modern art of the century to come. Next to the paintings there were some excellent examples of the Wiener Werkstatte exhibition and the combination of these 2 made the visit, except for the disappointing display of Schiele art, still worthwhile.

Born in Vienna, he studied at the Wiener Akademie and the Kunstgewerbeschule, where he also taught from 1899.

His designs in architecture, furniture, jewellery, graphics, and tapestries helped characterise the work of this era. Moser drew upon the clean lines and repetitive motifs of classical Greek and Roman art and architecture in reaction to the Baroque decadence of his turn-of-the-century Viennese surroundings.

In 1901/1902, he published a portfolio titled Die Quelle (“The Source”) of elegant graphic designs for such things as tapestries, fabrics, and wallpaper.

In 1903, Moser and his colleague Josef Hoffmann founded Wiener Werkstätte, whose studios and artisans produced a number of aesthetically and functionally designed household goods, including glassware, flatware, silverware, rugs and textiles. In 1904, he created the Apse mosaic and glass windows for the Kirche am Steinhof in Vienna.

In 1905, together with the Klimt group, he separated from the Vienna Secession. The same year, he married Editha (Ditha) Mautner von Markhof, the daughter to one of Austria’s great industry fortunes.

In 1907 Moser, due to internal conflicts and as his plans for reorganising the Werkstätte (to cope with financial problems) weren’t realised, withdrew from the Wiener Werkstätte.

Koloman was one of the designers for Austria’s leading art journal Ver Sacrum. This art journal paid great attention to design and was designed mainly by Moser, Gustav Klimt and Josef Hoffmann. His design for the cover of one edition of the art journal was later plagiarized by well known street artist and designer, Shepard Fairey.

Books on Moser and the Winer Werkstatte are available at www.ftn-books.com

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Leopold Museum ..Vienna

A crazy month. Traveling to Madeira, Paris and twice to Vienna. First trip to Vienna to chose our new dog Dexter from a nest of eight in Vienna and second trip last weekend to pick him up. Traveling with us our son Lucas, who wanted to witness this pick up and see Vienna for the first time. Because it was the museum that impressed me the most during our visit 2 years ago, we took him to the Leopold to show him TOD UND LEBEN by Gustav Klimt.

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This is the painting that has it all. All aspects of life caught within one framed painting. Measuring aprox. 2,5 x 2,5 meters it is large and impressive and one of the icons in modern art, but the Leopold has much much more. 4 floors with art filled by Klimt, Moser, Kokoschka and last but not least Egon Schiele. I have seen many Schiele paintings and drawings in my life. From an impressive Schiele contribution to the KLIMT/ SCHIELE / KLEE exhibition in the Gemeentemuseum to the special Schiele exhibtion in the Guggenheim in Bilbao, but was really impressed by the amount and quality of the Schiele’s on show in the Leopold Museum two years ago. This time it was totally different….from the four floors, 2 were closed and worse……. all the Schieles on Paper were in Facsimile. It is like going to a theater show, paying full entrance fee and see only half of it on television.

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These were not the real works of art and a museum like the Leopold Museum should inform its visitors on forehand that these were reproductions of the real works of art. To make it even worse they charged the full entrance fee for the visit…..a true disappointment, but with a fond memory to the TOD UND LEBEN/1915 which is still there and one of the most impressive and fascinating paintings in the world.