Cover image for The Blue Rider in the Lenbachhaus, Munich
Title:
The Blue Rider in the Lenbachhaus, Munich
Author:
Friedel, Helmut.
Personal Author:
Publication Information:
Munich ; New York : Prestel, [2000]

©2000
Physical Description:
328 pages : illustrations (some color) ; 31 cm
General Note:
Simultaneously published in German under title: Der Blaue Reiter im Lenbachhaus München.
Language:
English
Added Author:
ISBN:
9783791322162
Format :
Book

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N6868.5.E9 Z87 2000 Adult Non-Fiction Non-Fiction Area-Oversize
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Summary

Summary

Works by Kandinsky, Marc, and Klee are avant-garde icons known the world over. The Lenbachhaus in Munich, Germany, possesses the world's finest collection of works by these artists.


Reviews 2

Library Journal Review

This excellent introduction to the most important museum collection of works by the revolutionary group of German artists known as the Blue Rider features the movement's major figures, among them Wassily Kandinsky, Franz Marc, Gabriele Munter, Alexei Jawlenski, and Paul Klee. An introduction by Friedel, director of the Lenbachhaus, gives the historical background of this 1911 revolt against the Munich art establishment, while Lenbachhaus curator Hoberg provides a page of detailed commentary opposite a full-page color plate for each of 129 works illustrated here. This is an updating of Armin Zweite's The Blue Rider in the Lenbachhaus, Munich (1989), with a new introductory essay (Friedel covers the same ground as Zweite, with somewhat different text illustrations) and eight additional color plates (the plates are smaller in the new edition, while commentaries are repeated unchanged). In contrast, the 1997 CD-ROM issued by the Lenbachhaus and distributed by Prestel contains 400 images. Given these considerations, this title is recommended only for those lacking the 1989 version. Jack Perry Brown, Art Inst. of Chicago Libs. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Choice Review

A very useful, judicious, and certainly the finest overall research tool yet to appear among many on the origins, history, and illustration of the Blaue Reiter movement. Other publications have traced the formation of the artistic events leading to this sometimes informal association of gifted individuals, including e.g., Gabriele Munter (1993), and the CD-ROM The Blue Rider in the Lenbauchhaus, Munich (CH, Mar'90). The book under review bears astonishingly detailed, carefully specific, and the technically highest quality hard copy, color plates, and black-and-white illustrations closely matching electronic digital quality. The 129 color plates are separately discussed with commentaries; there are 63 black-and-white illustrations. Unfortunately--and inexplicably for such a research volume--there is no index and no apparent footnotes. However, with its fine preface and introductory text, the volume stresses the archival nature of the Lenbachhaus and illustrates multitudes of fact-filled photos from the archive, with all the data and history of that famous artistic circle. Yet, considering the merits of the text, there are many unsolved problems and several glaring errors of omission revealed by plates and illustrations. Readers still need to see The Spiritual in Art: Abstract Painting 1890-1985 (CH, Feb'87) and Frances Borzello's Seeing Ourselves: Women's Self-Portraits (CH, Nov'98). Highest recommendation. General readers; lower-division undergraduate and graduate students; faculty. M. Hamel-Schwulst Bruce formerly, Towson University