Larsson, Carl;Faunce, Sarah;Brooklyn Museum:Carl Larsson
- edizione con copertina flessibile 1982, ISBN: 9780872730939
edizione con copertina rigida
Birkhäuser A. G. , Basel / Private printing by J. R. Geigy A. G., Basel [Published date: 1967]. Hard cover. First Edition. Text in English, French and German. Good+/ NO dust jacket. Cream… Altro …
Birkhäuser A. G. , Basel / Private printing by J. R. Geigy A. G., Basel [Published date: 1967]. Hard cover. First Edition. Text in English, French and German. Good+/ NO dust jacket. Cream textured cloth covered boards with black lettering on spine. Light scuffing and soiling to edges of covers. Light staining and bubbling to cloth on back cover. Binding tight. Faint dampstaining to first few pages with very light waviness to the bottom corners. Otherwise pages are clean and unmarked. Original clear plastic covering has a 6" slit on the back edge and several other chips and tears. Light overall scuffing to plastic cover as well. The is first collection of 48 single page etchings of various buildings and scenes of old Basle by Hans Bühler, in his effort to document the building of historic or architectural value before that become due for demolition. Each illustration is accompanied by a description of the scene in three languages as well as what happened to the building. There are later editions of this book which include other buildings and views as well. NOT Ex-library. NO remainder marks. [From Preface by Hans Lanz] Topographical views are like portraits: attempts, prompted by pride and affection, to meet our compulsive need for a permanent representational record of the more attractive, or at any rate characteristic, features of a person, town or landscape. And the artist's awareness, in either case, that outward appearances are always changing gives his work a certain tinge of melancholy. Something of this melancholy lies at the heart of most of these 48 views of Basle. Thirty years ago, as buildings of historic or architectural value in Basle became due for demolition, Hans Bühler began to record them for posterity; and he continued to do so during the periods of feverish building activity which preceded and followed the second world war. The drawings reproduced here, which are only a small part of his work, entitle him to a place among the acknowledged artists who have made Basle their subject, like the celebrated Matthaus Merian in the 17th century, or Emanuel Büchel, the pastrycook turned painter in the 18th century, not to mention the many lesser topographical artists of the romantic era. Bühler's drawings of streets or squares or individual buildings are never idealised, nor are they specially 'posed' to attract the souvenir hunter. On the other hand they do not pretend to be dynamic structures based on inner tensions, they are not impressionist, expressionist or even cries of desperation from condemned buildings. They are straightforward records of the townscape as it was and as it is, vividly and finely drawn with many subtle undertones and shades of meaning. Every picture has an atmospherethe Basler would call it typical and therefore 'right'an atmosphere sustained as much by the trees and flowers, people, animals and vehicles portrayed as by the actual buildings. Surprised by the beauty of a line, the charm of a group of houses or an unfamiliar vista, the eye stops to linger over the detail until it is finally caught up in the mood reflected in a particular square or street or sunlit garden, or a house in reverie. At first glance the drawings may seem to be in no particular order, but on closer inspection we realise that the artist is taking us on four different leisurely walks through a town he loves, reminding us gently of what it has been while urging us to value what it is and may yet be., Birkhauser, 1967-01-01, 2.5, Brooklyn , NY: Brooklyn Museum, 1982. Originally titled "Fifty Paintings," this book has beautiful reproductions of artwork by Carl Larsson of Sweden. It has been out of print for several years but is back. Larsson's paintings detail daily life in Sweden from late 19th century-early 20th century. This book also has line drawings by Carl Larsson. Full-color art and black-and-white illustrations. 10-3/4" x 9-3/4" Larsson was born on May 28, 1853, in Prästgatan No. 78, a house on the Tyska Stallplan in Gamla stan, the old town in Stockholm. His parents were extremely poor, and his childhood was not happy. Carl's strong artistic talent had emerged early in his life. When he was 13 years old, his teacher at the school for the poor had persuaded him to apply for enrollment at Principskolan, the preparatory department of the Royal Art Academy. Renate Puvogel, in her book Larsson, gives detailed information about Carl's life: "His mother was thrown out of the house, together with Carl and his brother Johan; after enduring a series of temporary dwellings, the family moved into Grev Magnigränd No. 7 (later No. 5) in what was then Ladugårdsplan, present-day Östermalm". As a rule, each room was home to three families; "penury, filth and vice thrived there, leisurely seethed and smouldered, eaten-away and rotten bodies and souls. Such an environment is the natural breeding ground for cholera", he wrote in his autobiographical novel Me (Jag, Stockholm, 1931, p. 21). Carl's father worked as a casual laborer, sailed as a stoker on a ship headed for Scandinavia, and lost the lease to a nearby mill, only to end up there later as a mere grain carrier. Larsson portrays him as a loveless man lacking self-control; he drank, ranted and raved, and incurred lifelong anger of his son through his outburst, "I curse the day you were born". In contrast, Carl's endlessly working mother provided for their everyday needs through her job as a laundress.[2] Carl's artistic talent was probably inherited from his grandfather on his mother's side, who was a painter by trade. However, at the age of thirteen, his teacher Jacobsen, at the school for poor children urged him to apply to the "principskola" of the Royal Swedish Academy of Arts, and he was admitted. During his first years there, Larsson felt socially inferior, confused, and shy.[1] In 1869, at the age of sixteen, he was promoted to the "antique school" of the same academy. There Larsson gained confidence, and even became a central figure in student life. Carl earned his first medal in nude drawing. In the meantime, Larsson worked as a caricaturist for the humorous paper Kasper and as graphic artist for the newspaper Ny Illustrerad Tidning. His annual wages were sufficient to allow him to help his parents out financially. Frukost under stora björken ("Breakfast under the big birch"), 1896 Christmas Eve (1904–1905) After several years working as an illustrator of books, magazines, and newspapers, Larsson moved to Paris in 1877, where he spent several frustrating years as a hardworking artist without any success. Larsson was not eager to establish contact with the French progressive Impressionists; instead, along with other Swedish artists, he cut himself off from the radical movement of change. After spending two summers in Barbizon, the refuge of the plein-air painters, he settled down with his Swedish painter colleagues in 1882 in Grez-sur-Loing, at a Scandinavian artists' colony outside Paris. It was there that he met the artist Karin Bergöö, who soon became his wife. This was to be a turning point in Larsson's life. In Grez, Larsson painted some of his most important works, now in watercolour and very different from the oil painting technique he had previously employed. Carl and Karin Larsson had eight children and his family became Larsson's favourite models. Many of his watercolours are now popular all over the world. Their eight children included Suzanne (1884), Ulf (1887, who died at 18), Pontus (1888), Lisbeth (1891), Brita (1893), Mats (1894, who died at 2 months), Kersti (1896) and Esbjörn (1900). . Not Indicated. Soft Cover. Fine. Illus. by Color & B/W Plates., Brooklyn Museum, 1982, 5<
