Relevant bibliographies by topics / German Public sculpture

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Academic literature on the topic 'German Public sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "German Public sculpture"

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WALSH, LINDA. "THE “HARD FORM” OF SCULPTURE: MARBLE, MATTER AND SPIRIT IN EUROPEAN SCULPTURE FROM THE ENLIGHTENMENT THROUGH ROMANTICISM." Modern Intellectual History 5, no. 3 (November 2008): 455–86. http://dx.doi.org/10.1017/s1479244308001765.

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The apparently distinct aesthetic values of naturalism (a fidelity to external appearance) and neoclassicism (with its focus on idealization and intangible essence) came together in creative tension and fusion in much late eighteenth-century and early nineteenth-century sculptural theory and practice. The hybrid styles that resulted suited the requirements of the European sculpture-buying public. Both aesthetics, however, created difficulties for the German Idealists who represented a particularly uncompromising strain of Romantic theory. In their view, naturalism was too closely bound to the observable, familiar world, while neoclassicism was too wedded to notions of clearly defined forms. This article explores sculptural practice and theory at this time as a site of complex debates around the medium's potential for specific concrete representation in a context of competing Romantic visions (ethereal, social and commercial) of modernity.
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Lammert, Angela. "Will Lammert’s Ravensbrück memorial: the image of woman in German post-war public sculpture." Sculpture Journal 9, no. 1 (January 1, 2003): 94–103. http://dx.doi.org/10.3828/sj.2003.9.1.9.

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Kossowska, Irena. "Politicized Aesthetics: German Art in Warsaw of 1938." Art History & Criticism 13, no. 1 (December 1, 2017): 29–41. http://dx.doi.org/10.1515/mik-2017-0003.

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Summary This paper focuses attention on the reception of the exhibition “Deutsche Bildhauer der Gegenwart”, which was inaugurated on April 23rd, 1938 at the Institute of Art Propaganda in Warsaw – an institution whose exhibition hall was considered a venue of crucial importance to the cultural policy of the Polish state. The presentation was organized in the framework of a cultural exchange between Poland and Germany which was initiated by an exhibition of Polish contemporary art mounted in 1935 at the Preußischen Akademie der Künste in Berlin. I will present the response of the Warsaw public to the presentation of contemporary German sculpture within the context of traditionalist ideology which was promulgated in Poland as much as across Europe in the decades between the two world wars. Drawing on traditionalism, which heralded a prevalence of national cultural values strongly anchored in the past, I will question the relevance of its rhetoric to the artistic phenomena evolving under political pressure. It seems intriguing to juxtapose the accounts provided by Polish and German authorities from the art world in an attempt to grasp the semantic content of such categories as “the genius of the race”, as reflected in the 1930s’ critical discourse. Moreover, in order to reflect upon the concept of propaganda art – another key notion of the time – it is worth considering the response of Polish commentators to official exhibitions of other nation-states held in Warsaw in the 1930s.
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Jørgensen, Karsten. "Ekebergparken, landskap og demokrati." Nordlit, no. 36 (December 10, 2015): 129. http://dx.doi.org/10.7557/13.3683.

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<p>The article reflects on the relationship between landscape architects, influential clients, and public involvement in Ekeberg, a publicly owned area of Oslo, where significant changes have taken place since the beginning of World War II. “Ekebergparken” was established as a public sculpture park in 2013. The park is funded entirely by private funds owned by the investor Christian Ringnes. The plans for the park sparked a public debate about private investor influence over public space, and protesters organized demonstrations against the establishment. After the opening of the park, the opposition has subsided, and criticism has been replaced by praise and recognition. Inside the park, there are remains of an honorary cemetery established by the German occupying forces in 1940. An honorary tribunal set up by the Association of Norwegian landscape architects condemned the Norwegian landscape architects who designed the cemetery for Germans after the war ended in 1945. The development of the park in both cases raises questions of democratic control over public space and ethical frames for landscape architects’ work. The two examples in this article show that understanding or lack of understanding of the political context landscape architects are working in, can result in their work subsequently receiving wide recognition in one case, and is characterized as a democratic failure in the other.</p>
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Nowakowska, Maria. "Open-Air Łódź Sculpture Gallery and Its Influence on the City’s Aesthetics in 1972–1978." on the w terfront Public Art Urban Design Civic Participation Urban Regeneration 63, no. 11 (November 9, 2021): 26–48. http://dx.doi.org/10.1344/waterfront2021.63.11.02.

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The aim of the paper is to outline the circumstances of the establishment of the Łódź Sculpture Gallery in Rubinstein’s Alley (formerly: Aleja ZMP) and its impact on the aesthetics of Łódź. Despite the city’s history dating back to the beginning of the 15th century, the first fully-fledged sculpture in public space appeared only in 1912. By the beginning of World War II, the number of sculptures increased to a dozen or so, but all of those works were destroyed by the Germans in the first years of the occupation. In the period 1945–1970, two monuments and a dozen or so smaller forms appeared. The sculptural face of the city was changed only by the Łódź Sculpture Gallery, which focused on the most important issues of post-war town planning, politics, artistic trends, and social needs. Despite its short period of operation (1972–1978), its effects are still visible almost everywhere in Łódź. Never before and never after has the medium of sculpture been aestheticised on such a scale in the city. The memory of this place and several dozen sculptures (and of their creators) has almost faded away. Currently, activities are under way to restore the Łódź Sculpture Gallery to its due position in the history of the city and to continue its activities in the same place.
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Duda, Vasile. "Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.

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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at the Architecture University from Bucharest and then he became cultural consultant at the German Culture House Friedrich Schiller. During this period, Ingo Glass created a Constructivist Art with metal structures developed vertically following the spatial pattern specific to the great Gothic cathedrals– the most famous work Septenarius was built in 1976 on the Danube boardwalk from Galați. Being forced by the political circumstances from the Socialist Republic of Romania, he emigrated to the Federal Republic of Germany in 1979, he moved to München where he worked for the Municipal Art Gallery and where he was integrated in the group of Concrete-Constuctivist Art artists. After 1989 he came back to Romania with different exhibitions and he created public monuments in Galați, Timișoara, Moinești and Lugoj. Then, in 1992 he presented his PhD thesis about the influence of Constantin Brâncuși Art over the 20th century sculpture. Between 1989-1998 the artist crystallized an original visual concept based on the usage of the basic geometric shapes in conjunction with the primary colours. Ingo Glass upgraded Bauhaus theory and he associated the square with blue, the triangle with yellow and the circle with red. By using shapes and primary colours the artists creates Concrete Art, a new symbolic universe, purely geometrical, the harmony of his entire work being given by the proportion and link between full and empty spaces. Expanded spaciousness specific to the Constructivst Art phase experiments the architecture-sculpture link and the monumentality of the metallic structures encourages the entrance to the central core of works. The open, non-material dimension forms the main volume of the sculpture, the empty space dominates the full shape and it outlines the effects of an unrated and irrational spaciousness. Balanced spaciousness specific to the Concrete Art phase experiments geometrical combinations, based on the basic shapes in positive and negative intersections, by the spaciousness and non-spaciousness link, the pace between full and empty spaces. The usage of the three basic geometrical shapes also influenced the combining vocabulary of these elements, and it even ensured the ordering and deduction of the empty space. The utopia of basic forms expresses tendencies towards positive irreductible forms of energy or negative forms through non-materiality, where the concepts of mass, weight, space and time are added. In each of his works, the artist used a proportion between the elements of the composition through a rational interpretation stimulated by the achievement of a geometrical order as the essential basis of tasks. The relation between positive and negative spaciousness appears constantly in the sculpture of the last century and the rhytm and sequence of its spatial effects are determined by a sense of proportion that involves an aesthetic of proportion. Thus, we can definitely say that the work of the artist Ingo Glass originally captures all these aspects of Contemporary Art. Keywords: sculpture, spaciousness, Ingo Glass, constructivism, Concrete Art. "
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Krzosek-Hołody, Magdalena, and Aleksandra Litorowicz. "Kim jesteś dębie…? Drzewa w projektach sztuki publicznej: od reżimu, przez oswojenie, do dzikości." Przegląd Kulturoznawczy, no. 4 (58) (2023): 521–42. http://dx.doi.org/10.4467/20843860pk.23.034.19183.

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Oak, Who Are You...? Trees in Public Art Projects: From Regime, Through Domestication to Wildness How have artists working in the public space approached trees in recent decades? What have the artworks utilizing these majestic plant organisms told us about our relationship with nature? In reference to the questions listed above, in this article we want to take a fresh and critical look at the presence of trees (as art objects) in public spaces of contemporary cities. Our starting point is a critique of Joseph Beuys’ work 7000 Oaks, realized between 1982 and 1987 in the German city of Kassel. We argue that Beuys’ work diverged from his own concept of art as Social Sculpture; and the realization of this concept is only possible today when we have adopted different starting positions in our relationship with trees (as organisms) and urban nature as a whole. Considering the changes that have occurred in the discourse surrounding the role of public art in environmental debates, we also want to draw attention to the emergence of new models of artist (human)/plant relationships. Such models can be found in contemporary references to Beuys’ Kassel project, which were developed based on slightly different premises than those guiding the original work and its direct continuations. Complementing our reflections, we refer to local artistic projects realized in Warsaw, in which trees played important roles. We mention the publication Atlas of All Inhabitants co-created by Fundacja Puszka and the human/non-human inhabitants of Warsaw (2022), as well as an inter-species exhibition presented within the framework of the Bio/Diverse Summer program at the square of the Nowy Theatre (Fundacja Puszka, 2023).
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Baykaoglu, Nursel, and Hatice Feriha Akpinarli. "Sample of German embroidery from the hand embroidery applications in the city of Kahramanmaras." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 85–92. http://dx.doi.org/10.18844/gjae.v10i1.4793.

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Forming one of the most important branches of our culture and traditional arts, embroidery was born by sewing in a decorative way and it is worth mentioning that it is as early as humanity. Embroidered clothing on the sculptures excavated and the narration that the daughter of Noah in Hebrew history wears an embroidered belt shows that this branch of art goes back to earlier times. Hand embroidery, which is the products of intelligence, skill and subtle wit, has reached the current time by preserving its value. Out of a great many embroidery techniques reaching large public masses, a technique called ‘German Embroidery’ was encountered in the researches carried out in the city of Kahramanmaras and its towns in the years 2013–2014. According to the information obtained from the source people in the research carried out in the city of Kahramanmaras, German Embroidery dating back to earlier times is not produced today; however, we are likely to find pillows, clothes and dresses embroidered with German Embroidery in houses. In the current paper, embroidery samples were determined in order to unveil this technique that was embroidered on any kind of cloth with a plain surface and it was aimed to make the embroidery alive and to promote it by analysing the way of embroidering. Keywords: Embroidery, ornament, technique, traditional.
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Jung, Dae Sung. "Public History of the ‘68 movement in Germany I : The memorial sculptures of the Student Benno Ohnesorg." Korean Journal of German Studies 32 (August 31, 2016): 205. http://dx.doi.org/10.17995/kjgs.2016.08.32.205.

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Kuehn, Julia, and David D. Possen. "Elisabeth Jerichau-Baumann, Constantinople 1869–70: Public Spaces." Victorians Institute Journal 50 (November 1, 2023): 221–66. http://dx.doi.org/10.5325/victinstj.50.2023.0221.

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Abstract Polish-born, trained in Germany, with a studio in Rome and a second home in Denmark following her marriage to sculptor and academician Jens Adolf Jerichau, Elisabeth Jerichau-Baumann (1818–81) was a true nineteenth-century cosmopolite. She painted Europe’s elite and counted Princess Alexandra, Hans Christian Andersen, Ibsen, the Grimm brothers, and Dickens among her well-wishers. She was invited by Queen Victoria to Buckingham Palace, and her portrait of Alexandra remains in the Royal Collection today. Her travelogue Brogede Rejsebilleder (Motley Images of Travel; 1881) is centered around two journeys to “the Orient” (Constantinople and Smyrna), undertaken in 1869–70 and 1874–75. The present chapters, translated by David D. Possen and introduced by Julia Kuehn, are Jerichau-Baumann’s record of the first of two journeys to Constantinople, in 1869–70. The chapters are published in two parts—“Public Spaces” and “The Harem”—in consecutive numbers of the VIJ. The painter vividly describes the sites of and life in Constantinople. Jerichau-Baumann’s temporary friendship with the young Princess Nazlı Hanım would lead to a number of paintings now considered emblematic of and unique in (female) Orientalist art. Nazlı would become a well-known literary salon hostess and arts supporter in Istanbul, Paris, Cairo, and Tunis.
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Books on the topic "German Public sculpture"

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1939-, Holthausen Dierk, and Hüllenkremer Marie 1943-, eds. Skulpturenführer Köln: Skulpturen im öffentlichen Raum nach 1900. Köln: Bachem, 2000.

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Grudda, Carin. Carin Grudda: Public works. Roma: Il cigno GG, 2013.

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Ballhausen, Werner. Zeitgenössische Kunst im städtischen Raum: Empirische Fallstudien zu ausgewählten Skulpturenprojekten in Berlin. Berlin: Berlin Verlag, Arno Spitz GmbH, 1991.

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1964-, Köttering Martin, and Nachtigäller Roland, eds. Störenfriede im öffentlichen Interesse: Der Skulpturenweg Nordhorn als offenes Museum. Köln: Wienand, 1997.

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Hees, Ulle. Ulle Hees: Erzählte Geschichte : Plastiken im öffentlichen Raum. Wuppertal: Edition Köndgen, 2011.

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1987), Schorndorfer Symposion (1st. Bildhauer in der Stadt. Edited by Maier Hans-Martin, Stöckle Frieder, and Abele Eberhard. Stuttgart: Theiss, 1988.

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1944-, Roettgen Steffi, and Angermann Doris, eds. Skulptur und Plastik auf Münchens Strassen und Plätzen: Kunst im öffentlichen Raum 1945-1999. Puchheim: Idea, 2000.

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Vetter, Ingo. Populäre Plastik: Ingo Vetter. Wien: Verlag für moderne Kunst, 2020.

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1920-, Kock Hans, ed. Plastische Kunst in Hamburg: Skulpturen und Plastiken im öffentlichen Raum. Reinbek: Dialog-Verlag, 1986.

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Jacob, Daniel. Skulpturenführer Dresden: Von Aphrodite bis Zwillingsbrunnen. [Dresden]: Daniel Jacob, 2010.

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Book chapters on the topic "German Public sculpture"

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Jacobs, Steven. "Carving Cameras on Thorvaldsen and Rodin: Mid-Twentieth-Century Documentaries on Sculpture." In Screening Statues, 65–83. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.003.0004.

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The earliest examples of “art films,” which date from the first two decades of the twentieth century, had monuments and public sculptures as their subject. While often being actualities showing inaugurations of public statues, many of these films focus on the social event of the ceremony rather than the sculptures themselves, but some films did give attention to the plastic qualities of the sculptures in natural light.3 While a cinematic reproduction of a painting seemed useless or redundant, the medium of film was considered perfect for visualizing threedimensional artworks, which necessitate a moving approach to grasp their different angles and spatial dimension. Likewise, German art film pioneer Hans Cürlis, who founded the Institut für Kulturforschung in 1919 in order to develop and propagate film as a mediator for art, considered paintings highly “unfilmic.”4 Throughout the 1920s, Cürlis made several films that consist of static shots of sculptures rotating on their axis, grouped under titles such as “Heads,” “Negro Sculpture,” “Old-German Madonnas,” “German Saints,” “Kleinplastik,” “Indian Crafts,” or “East-Asian Crafts.” Other landmark art documentaries produced before the Second World War also focused on sculpture.
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Janzing, Godehard. "National division as a formal problem in West German public sculpture: memorials to German unity in Münster and Berlin." In Figuration/Abstraction, 127–46. Routledge, 2017. http://dx.doi.org/10.4324/9781315094083-8.

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Berghaus, Günter. "Theatre Performances In Art Galleries." In Italian Futurist Theatre 1909-1944, 232–45. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198158981.003.0009.

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Abstract The expansion of the Futurist movement into the fine arts was first signalled to the general public through the publication of a number of manifestos: Manifesto of Futurist Painters (II February 19rn), Technical Manifesto of Futurist Painting (II April 19rn), Futurist Sculpture (II April 1912), and Painting of Sounds, Noise and Odours (II August 1913). The first examples of Futurist paintings and sculptures were presented in March/April 19rn in an exhibition of the Famiglia Artistica in Milan, followed by a number of mixed shows in Venice CTuly 19rn) and Milan CTuly 19rn, December 19rn, April 19II, December 19II). The participation of Futurist artists in these exhibitions was undoubtedly a significant achievement, but the real breakthrough of Futurist painting and sculpture on the international art scene only occurred in 1912/r3 with the opening of the touring exhibition of Futurist art works at the Galerie Bernheim Jeune in Paris (5 February 1912). The show was reviewed in many French, Italian, German, and English newspapers and attracted large audiences when it travelled to London (March 1912), Berlin (April 1912), Brussels CTune 1912), Amsterdam (September 1912), Chicago (March 1913), and Rotterdam (May 1913). Other important Futurist exhibitions were held in London (at the Marlborough Gallery in April 1913 and at the Dore Galleries in April 1914), in Paris (at the Galerie La Boetie in June/July 1913), and in Berlin (at the Stumz Gallery in November 1913). In 1913/r4 there were also several Futurist exhibitions in Rome, Florence, and Milan.
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Pitavy-Souques, Danièle. "A Rereading of Eudora Welty’s “Flowers for Marjorie” (2018)." In The Eye That Is Language, edited by Pearl Amelia McHaney, 36–45. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496840585.003.0004.

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This chapter focuses on “Flowers for Marjorie” as a “bold narrative experiment to arouse the public awareness of a major social event”—the Great Depression as Welty observed it in New York City. Familiar with and fascinated by the avant-garde world of New York and the fields of contemporary painting, photography, sculpture, cinema, fiction, poetry, drama, and music, Welty writes “unreality” and a “representation of despair” in “Flowers for Marjorie.” The story is kin to paintings of German expressionism and the blurred frames of dreams of surrealism. Art by Luis Buñel, Salvadore Dali, Max Ernst, and Max Beckman and others are referenced to create the argument.
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Deshmukh, Marion F. "German Art After 1990." In The Oxford Handbook of German Politics, 450–66. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198817307.013.27.

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Abstract Germany’s aesthetic history, like its political history during the course of the twentieth century, has had a fraught legacy and its complex history continues to cast long shadows to this day. In summarizing cultural trends since unification, history will never be far from the analysis since it begins at the exact moment of the fall of the Berlin Wall in November 1989. This essay describes the major post-1990 trends not only in the visual arts, but also in photography and equally importantly, in the politics of museum curating and museum renovation. For it was due to the latter activities that some German artists were favoured over others and received critical notice which advanced their careers. The politics of museum curating along with the renovation of existing museums and the construction of new museums has become an important national project in the united Federal Republic. In the meantime, many of the country’s artists and their rich variety in artistic styles and approaches—performance artists, painters, sculptors, photographers, and others—have achieved much international and also public acclaim.
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Conference papers on the topic "German Public sculpture"

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Roland, Stephanie, and Quentin Stevens. "North Korean Aesthetics within a Colonial Urban Form: Monuments to Independence and Democracy in Windhoek, Namibia." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5038pxdax.

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This paper examines two high-profile commemorative spaces in Namibia’s national capital, Windhoek, designed and constructed by North Korean state-owned enterprise Mansudae Overseas Projects. These commemorative projects illustrate the complex and evolving intersections between public art, architecture and urban form in this post-colonial context. They show how sites designed around heritage and collective identity intersect with urban space’s physical development and everyday use. The projects also illustrate the intersecting histories of three aesthetic lineages: German, South African and North Korean. This paper will show how these commemorative spaces embody North Korean urban space ideas while also developing new national symbols, historical narratives and identities within Windhoek’s urban landscape as part of independent Namibia’s nation-building. The monument’s ‘Socialist Realist’ aesthetic signals a conscious departure from the colonial and apartheid eras by the now-independent Namibian government. This paper extends prior research focused on the symbolism of Mansudae’s monumental schemes by analysing these monuments’ design, placement, public reception and use within Windhoek as they relate to the city’s overall development since Namibia’s independence in 1990. By documenting the form, location and decision-making processes for the Mansudae-designed memorials in Windhoek and historical changes in their spatial and political context, the paper explores the interaction between North Korean political ideology and design approaches and Namibia’s democratic ambitions for city-making. The paper’s mapping analysis spatially compares the sculptural, architectural and urban design strategies of Mansudae’s additions to Windhoek’s City Crown (2010-14) to Pyongyang’s Mansu Hill Grand Monument (1972-2011), and Windhoek’s Heroes’ Acre (2002) to Mansudae’s earlier National Martyrs Cemetery outside Pyongyang (1975-85).
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