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Books : Arts & Photography : Artists, A-Z : ( M-O ) : Modersohn-Becker, Paula
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An introduction to the life and output of of this German nineteenth-century artist.
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Articles: "'Of Men, Women and Art': Some Historical Reflections" by Mary D. Garrard; "Artistic Women and Women Artists" by Josephine Withers; "Projecting a Feminist Criticism" by Lucy R. Lippard; "A 1974 Perspective: Why Women's Studies in Art and Art History?" by Barbara Ehrlich White; "Women in Ancient Art" by Betty L. Scholssman and Hildreth J. York; "A Feminist Art - The American Memorial Picture" by LaVerne Muto; "Mary Cassatt's Images of Women" by Susan Fillin Yeh; "Paula Modersohn-Becker: Some Facts and Legends" by Ellen C. Oppler; "An Interview with Louise Bourgeois" by Susi Bloch; "Some Notes on Women Printmakers" by Judith K. Brodsky; "Erotica, the Academy, and Art Publishing: A Review of 'Woman as Sex Object. Studies in Erotic Art, 1730-1970'" by Lise Vogel; and "In Retrospect - The Midwest Women Artists' Conference" by Linn Hardenburgh and Susan Duchon.
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Revolving around the public and private lives of the great modern painter Paula Modersohn-Becker, this collection explores the artist's relationship with her craft and her friendship with poet Rainer Maria Rilke and his wife, sculptor Clara Westhoff. Inspired by the artist's numerous self-portraits, Bhatt transports the image of Modersohn-Becker to present-day Germany. This book-length sequence of poems presents a rich and fully conceived history of the inner and outer worlds of one of the century's great modern painters.
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In 1908, Rainer Maria Rilke wrote "Requiem for a Friend" in memory of Paula Modersohn-Becker, the German painter who had profoundly affected him, personally and artistically, and who had died a year earlier. Although one of the great modern painters, Modersohn-Becker is today remembered primarily as she is portrayed in Rilke's poem. In Dear Friend, Eric Torgersen looks at the relationship of these two great artists whose often-strained friendship was extraordinarily productive for both and offers an introduction to the life and work of Modersohn-Becker. Torgersen begins by tracing the path that leads the two young people to the artist's colony at Worpswede in 1900, where Rilke meets with and becomes fascinated by Paula Becker. He recounts Rilke's dismay upon learning Becker is already engaged to the painter Otto Modersohn; Rilke's sudden marriage to Modersohn-Becker's dearest friend, the sculptor Clara Westhoff; and Modersohn-Becker's pain and anger at the effect this marriage has on her friend and on their friendship. The book then follows Rilke and Modersohn-Becker through their years of estrangement and conflict over the competing claims of art and life. Included in the book are reproductions and photos as well as Torgersen's new translations of "Requiem for a Friend" and of the love poems Rilke wrote for Becker shortly after they met. Torgersen discusses Modersohn-Becker's major paintings, including her unfinished portrait of Rilke. He quotes from the letters and journals of both artists and translates many of Rilke's works into English for the first time. Finally, Torgersen addresses the question of whether the two were lovers and offers new insights into the creation of"Requiem for a Friend".
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This book examines the most influntial esthetic theories and the salient artists from 1907 - 1957 in Germany.
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Paula Modersohn-Becker is recognized today as one of the great painters of the modern movement. But Modersohn-Becker was also a gifted writer and her large body of letters and journals form a moving, highly readable story of a woman at the twin frontiers of art and life. Reissued to coincide with the publication of Dear Friend (see page 3), this edition, which includes every extant letter, all carefully annotated, is the result of extensive research by the editors, and is illustrated with forty-six black and white plates.
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These rare documents chronicle the developing persona of the young female Expressionist painter at the turn of the century, struggling to resolve the conflict between what she demanded of herself as an artist and what society expected of her as a married woman.
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