CARL EINSTEIN NEGERPLASTIK PDF

In carrying on the work already undertaken with Ezio Bassami for the edition, Jean-Louis Paudrat completes and corrects the captions this time present, but often fragmentary, for the photographic content of La Plastique africaine. In addition to its documentary interest, this selection of some photographs, in full-page reproductions, reminds us that Einstein was not just a brilliant theoretician. He was also very keen on the form of the exhibition catalogue and the informational booklet— La Plastique africaine appeared in the Berlin collection Orbis Pictus, famous for its small initiatory volumes on the history of art. He was not interested in the effective links between these arts. If he examined African sculptures with great interest, it was first and foremost to try and better understand what, essentially, the notion of Cubism encompassed—an obsessive enigma which he was still pursuing throughout the following decade, when he published his book on Georges Braque Einstein was a pioneer in the linkage between ethnology and art theory.

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Immediate download. Please login to continue. The thesis focuses on the work of the author and critic Carl Einstein , a key figure in the history of early twentieth-century art and literature. Reconnecting Negerplastik to Einstein's early art-criticism in the context of pre German Kulturpolitik and in the often highly competitive circles of the intellectual avant-garde, the thesis investigates his hitherto neglected role in staging the first two exhibitions in Germany which, during , presented African sculpture alongside avant-garde painting - and Picasso's Cubist work - at the Neue Galerie in Berlin.

The thesis brings together material that, although embedded in the period's documents and chronicles, has largely gone unnoticed. Yet evidence, such as the critical reaction to Einstein's African exhibitions, his letters to his friends Daniel-Henry Kahnweiler and Ewald Wasmuth, or the material gathered between and for a joint project with the British Museum's keeper Thomas A.

Joyce is central to understanding the historical significance of Negerplastik and Einstein's ethnographic encounter. Ethnography provided the basis for some of his most compelling art-critical texts in the journal Documents.

The thesis concludes by contending that, between and , Negerplastik served as catalyst, and matrix, for a number of avant-garde reconfigurations of African sculpture in which the objects' photographic framing re-confirmed this sculpture as art. It addresses aspects of Einstein's role within the discourse on art and cultural difference, which - despite the now sizeable secondary literature devoted to him - have not been sufficiently examined. New search Advanced search Search results.

Carl Einstein's Negerplastik : early twentieth-century avant-garde encounters between art and ethnography. Access from EThOS:. Access from Institution:.

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Negerplastik 1920 by Carl Einstein

Immediate download. Please login to continue. The thesis focuses on the work of the author and critic Carl Einstein , a key figure in the history of early twentieth-century art and literature. Reconnecting Negerplastik to Einstein's early art-criticism in the context of pre German Kulturpolitik and in the often highly competitive circles of the intellectual avant-garde, the thesis investigates his hitherto neglected role in staging the first two exhibitions in Germany which, during , presented African sculpture alongside avant-garde painting - and Picasso's Cubist work - at the Neue Galerie in Berlin. The thesis brings together material that, although embedded in the period's documents and chronicles, has largely gone unnoticed. Yet evidence, such as the critical reaction to Einstein's African exhibitions, his letters to his friends Daniel-Henry Kahnweiler and Ewald Wasmuth, or the material gathered between and for a joint project with the British Museum's keeper Thomas A.

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Carl Einstein

Luise Mahler is an art historian specializing in modern art and its criticism. Photo: annako, Berlin. How did translating him into English come to be your project? Charles Haxthausen This project grew out of my research on early-twentieth-century German art criticism, an interest of mine that dates back to the mids. I came to see the most interesting criticism of that period as virtually an art form in itself, at times driven by its own paradigms as much as or more than by the art that was its object. Einstein is arguably the most trenchant example of this.

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