#museum der bildenden künste leipzig

[antronaut]

Max Klinger - Die Blaue Stunde (1890)

oil on canvas 191.5 × 176 cm

[impervioustotheworldssoftdecay]

Die Blaue Stunde, 1890 von Max Klinger

[stochastique-blog]

hmm...

Mathieu Molitor, Tänzerin (1914/1921) Museum der bildenden Künste, Leipzig, 6. August 2017

[thatnormalcrazygirl]

[hube44]

Maria Sainz Rueda (Heidelberg 1976)

Hanuman, 2010

Gift from M. Schubert family, Leipzig

Oil on canvas

[rwpohl]

[centuriespast]

GIRODET DE ROUCY-TRIOSON, Anne-Louis Mademoiselle Lange as Venus 1798 Oil on canvas, 170 x 87,5 cm Museum der bildenden Künste, Leipzig

[italian-lit-tournament]

Italian literature tournament - Fourth round + anticipation to how the final round will works (start Sunday 8 December - end Sunday 15 December).

Arnold Böcklin, Orlando Furioso, 1901, Museum der bildenden Künste, Leipzig.

👉 The official list for the Third Round of the Italian Lit(erature) Final Destination Tournament - First edition is here 🎉. Read the summaries of the first, the second round and third round.

👉 Same rules as the previous rounds: each pair has its link to the apposite poll to vote, that start to function when the poll start. Each poll have a duration of 1 week. Each poll is tagged with the name of the author featured so you can find it also with the search bar.

👉 + Announcement: as if you found, we're closing to the end of this tournament. As I said at the start, the major problem in the large number of partecipants was to achieve the exact ratio to end with 16, 8, 4 and then 2 final authors to compete. That aim was impossible to achieve; between the first list and your submission on the google form, I reached between 90/100 names and the options were two: or erase many of them to achieve the number 64, but I didn't want to do considering how many of the names were proposed by you and didn't seem fair, or adding more to gain 128 names, but the tournament would have been too long to manage and I wanted to end it before New Year Eve. With this, we are now not with 16 names but 12, it means that at the final round there won't be two author but three: the winner will be chosen with a new google form and the three options, one vote possible, and at the end there will be a podium.

👉 That's why I anticipated of one day the usual posting, with the start of the fourth round not at Monday 9 but Sunday 8 December: the six couples/polls will be published all the same day and just at the end of this round the next one will start the next day, from 16 December to 23 December, with the final round that will end between 30/31 December, and the final results (from the google form) will be posted at the start of the new year 🎉.

👉 As usual, if you want to make a post, a meme, write something about this tournament or whatever, you can use the common tags #italian lit tournament or #italianlitournament (with one t). I will check those tags sometimes and reblog from those: for now, I'll only post the polls from the tournament to not stop the flow, but maybe for the next editions there will be more different contents 👉👈.

👉 Every poll completed, the result will be posted in the same row - the winning author signed in bold. All the pairs have been sorted randomly.

1. Gaspara Stampa - Luigi Pirandello

2. Giovanni Boccaccio - Ludovico Ariosto

3. Eugenio Montale - Giacomo Leopardi

4. Umberto Eco - Italo Calvino

5. Pier Paolo Pasolini - Dante Alighieri

6. Gianni Rodari - Alda Merini

[4eternal-life]

Karl Blechen  (German, 1798–1840)

Mönche in der Felsgrotte / Monks in a grotto

Paintings by Carl Blechen in the Museum der bildenden Künste

Leipzig, Museum of Fine Arts

@ Wikimedia Commons

[brise-artist]

Museum der bildenden Künste Leipzig.

[ex-frat-man]

Otto Greiner (German b. 1869), “Odysseus and the Sirens”, 1902

Oil on canvas

The image is from a color reproduction of a large-scale painting by Greiner. The original painting was lost from the Museum der Bildenden Künste, Leipzig, Germany, during World War II.

[alienbuddyholly]

Chez Schnabel

Anna Haifisch/Leipziger Volkszeitung /Museum der bildenden Künste Leipzig/Björn Steigert/Benjamin Schrader/Dr. Stefan Weppelmann

[bring-me-the-horizon-back]

„Die Verdammnis“ - Bildhauer: Balthasar Permoser

Museum der Bildenden Künste, Leipzig

[beyondthespheres]

“Anna Haifischs' and Anja Kaisers' highly original and distinct visual languages are merging in a closely intertwined collaboration where the books' content and form are in concordance. Opening the book feels like entering a captivating universe presented through radical colours, typography and complex compositions in perfect synergy.

However, the slender page block wrapped in mouse-grey synthetic leather, which appears rather modest at first glance, is strong in every aspect: whether its materiality, printing quality of most vibrant colours, entertaining content, originality as well as sensitivity.

It´s a statement, an unusual approach in which those involved, graphic designer and illustrator, seem to have set no mutual limit.

The graphic design does not only exist to present the numerous illustrations appropriately within the folio-format, much more than setting up the framework, rather the typographic treatment interferes with the image worlds. This, however, in the most positive sense. The graphic shapes and the illustrated sections become one and display their full power together. Very few succeed in doing this and it testifies to the close cooperation between the two authors involved.

By merging their unique visual languages, an extremely contemporary narrative form is created. This language fills up the catalogue for the exhibition “Chez Schnabel” at the Museum der Bildenden Künste Leipzig which was published in conjunction with the 2021 LVZ Art Prize award. This is the first publication by artist Anna Haifisch to give an insight into her approach to making comics.”

(from the jury’s statement)

I also appreciate the fact that I reviewed comics shown in the last drawing; so here’s Arséne Schrauwen for Der Tagesspiegel and Bad Gateway for The Comics Journal.

[fashionbooksmilano]

Bed Sledsens

Herwig Todts, Stefan Weppelmann

Hannibal Books, Veurne 2022, 192 pages, 25x30cm, Hardcover, ISBN 9789464366778, Quadrilingual Edition EN-DU-GE-FR

euro 60,00

email if you want to buy booksinprogressmilano@yahoo.it

Stunning monograph on the colourful universe of artist Ben Sledsens

Artist Ben Sledsens (b. 1991) combines an indepth knowledge of the visual tradition with his own mythology. With his large-scale canvases, he shows us fragments from his imaginary world, a Utopia in which he himself wants to live. His colors and reinterpretations of the landscape are reminiscent of artists such as Henri Matisse, Pierre Bonnard, Claude Monet, Henri Rousseau and Pieter Bruegel the Elder.

Although his landscapes, portraits, and historical and daily scenes have an idyllic appearance, there is also a certain tension and mystery in his scenes. He always builds up his compositions around a moment of climax with an open beginning and end. By reusing motifs, themes, objects and poses, Sledsens creates an intriguing puzzle of references and builds a recognisable, coherent, romantic and utopian oeuvre.

This publication bundles Sledsens’ most recent work, from 2018 to the present.

With text contributions by Herwig Todts (curator modern art KMSKA, Antwerp) and Stefan Weppelmann (director Museum der bildenden Künste, Leipzig).

19/11/23

[artpassion3]

The painting of the Death of Hyacinth, painted by Merry-Joseph Blondel is kept at the Baron-Martin Museum in Gray, Haute-Saône in France

This work executed in the 1810s (and not 1830s), is strongly influenced by the homonymous painting by Jean Broc, 1771/1850, The Death of Hyacinth, presented at the Salon of 1801.

Which is undoubtedly inspired by the painting by Benjamin West then present at the Louvre, but Broc adds a totally new affective and homoerotic dimension.

It is this idea that is successively taken up by Merry-Joseph Blondel then Jean-Pierre Granger 1779/1840 in Apollon et Cyparisse, at the Salon of 1817, Leipzig, Museum der Bildenden Künste.

Claude-Marie Dubufe, Apollo and Cyparissus, Salon of 1822, Avignon, Calvet Museum.

and finally Alexandre Ivanov in 1834, Apollo, Hyacinthe and Cyparissus, Moscow, Tretyakov Gallery

What is striking in these works, produced in less than 25 years, is this androgynous grace that increases the pathos of the loss they convey, while exalting friendship even in death.

Apollo embracing the panting and dying body of his beloved (eromenos), as an exemplum virtutis, praises virile friendships, emphasizing the pain of losing a loved one.

Apollo embracing the panting and dying body of his beloved (eromenos), as an exemplum virtutis, praises virile friendships, emphasizing the pain of losing a loved one.

As for the androgynous beauty of the masculine outline combined with an undulating feminine line, it confirms the ideal and elevated character, but it also represents an ambivalence and an ambiguity.

The emotional bonds that they exalt, loaded with eroticism and sensuality, nostalgic for a vanished world, ancient Greece, make these loves poignant and sublime.

However, at the time they were made, the distinction between friendship and sexuality was not really made, nor really clear-cut, ultimately these works only speak of the values ​​of friendship and the feelings they create.

Moreover, given the subject treated, the critical reception has not accused any embarrassment.

These images only became representative of homosexuality a posteriori, practically disappeared after 1830, it is the end of the neo-classical aesthetic and the purely virile values ​​that founded it.

The Death of Hyacinthus c.1830 by Merry-Joseph Blondel (1781-1853)