Sabine Haag Libros

Der vorliegende 11. Band des Jahrbuchs des Kunsthistorischen Museums Wien beschäftigt sich schwerpunktmäßig mit Mythologie und Mythenrezeption: Friedrich Polleroß schreibt über Geschichte als Mythos am Kaiserhof, Rudolf Preimesberger berichtet über Caravaggios Valerius Maximus-Lektüre und Andrea Sommer-Mathis analysiert musikalische Mythen aus der Antike in den Libretti des Wiener Hofs. Javier Portús liefert aufschlussreiche Details über Mythologie und künstlerische Identität bei Velázquez und Johannes Myssok schreibt über den missverstandenen „Theseus“ des Antonio Canova. Daneben stellen zahlreiche weitere Artikel neueste Untersuchungen und Studien aus dem KHM Wien vor. Das Jahrbuch des Kunsthistorischen Museums Wien ist eines der ältesten kunsthistorischen Periodika von internationalem Rang. Es verfolgt traditionell das Ziel, die Forschungsergebnisse zu den reichen Beständen und zur Geschichte der verschiedenen Sammlungen des KHM Wien der Fachwelt und der Öffentlichkeit zu präsentieren

Ob mit Performance oder Skulptur, als Regisseur oder Choreograph, seit den 1970er Jahren mischt das flämische Multitalent Jan Fabre die zeitgenössische Kunst auf. Mit seinen Tanz-, Theater- und Opernproduktionen bespielt er große Weltbühnen. Der Performance-Künstler, in dessen Arbeiten Elemente aus allen Kunstsparten zu einem Gesamtkunstwerk verschmolzen werden, begann seine Karriere als Maler. Mit seinem Skulpturen, Gemälde, Fotografien, Zeichnungen und Installationen umfassenden OEuvre erobert er auch Museen von Weltrang wie z. B. den Louvre. Nun beehrt der Künstler 2011 das Kunsthistorische Museum mit seiner nächsten Ausstellung in Wien. Ab den 1980er Jahren widmete sich Fabre der Erforschung des menschlichen Körpers und seiner Transformation, sehr bald kam die Faszination für Insekten hinzu, wobei der thematische Bogen von Leben, Tod und Auferstehung konstant blieb. Sein immer wiederkehrendes „Markenzeichen“, der Käfer, galt in der Mythologie des Alten Ägypten als Symbol der Verwandlung und als Brücke zwischen Leben und Tod. Ein Lebensthema des Künstlers, der zwei Mal im Koma lag. Der vorliegende Bildband nimmt Arbeiten in den Fokus, in denen sich der Künstler auf die Schriften seines Urgroßvaters, des Insektenforschers Jean-Henri Fabre, bezieht.

Baselitz dialogues with the great maestros of the nude In Naked Masters, German painter and sculptor Georg Baselitz (born 1934) engages with Old Masters such as Titian, Rubens, Manfredi and Burrini. Invited by Vienna's Kunsthistorisches Museum, Baselitz himself curated the selection of works for the exhibition, focusing exclusively on nude painting. Both the exhibition and the catalog revolve around this elemental human state and its fundamental role in European art. They also showcase the artist's penchant for provocation; many of his paintings are displayed upside down, as he positioned them in the 1960s. From the beginning of his career, Baselitz's work has been informed by a pronounced awareness of art history--Mannerism's transgression of classical rules particularly inspired him. Through the dramatic encounter between Baselitz's nudes and those of his predecessors, captivating insights into the history of nude painting emerge.

The exhibition presents three of the circa twenty extant works by Jan van Eyck, offering a glimpse of the art produced during the reign of Duke Philipp the Good, when the Burgundian Low Countries witnessed a unique flowering of courtly and urban civilisation. Jan van Eyck (c.1390-1441), the favorite court painter of Philipp the Good, duke of Burgundy (1396-1467), is celebrated for his virtuosity in the use of oil paint and his skill in combining naturalism and realism with brilliant colors. Already regarded as an epoch-making artist by his contemporaries, he was soon renowned throughout Europe as the founder of Early Netherlandish painting. Jan van Eyck was one of the first artists north of the Alps to sign and date his works. His use of a motto is remarkable. In the early fifteenth century, it was highly unusual for a painter - then still regarded as a mere craftsman - to have his own device, something reserved for the dukes of Burgundy and the nobility. Jan van Eyck chose ALS · IXH · XAN as his motto and generally inscribed it in pseudo-Greek letters; it is, however, in Dutch and means 'as I can' or 'as best I can' as in 'as best I can, not as I would', which is presumably meant to imply the artist's modest appreciation of his own work. Exhibition: Kunsthistorisches Museum Wien, Austria (10.07. - 20.10.2019).

Together with the special exhibition Caravaggio & Bernini, the Kunsthistorisches Museum is showing a new series of works by the Austrian artist Klaus Mosettig in the Bassano Hall. His series The David Plates is based on X-rays of Caravaggio?s painting David with the Head of Goliath from the collection of the Kunsthistorisches Museum. The fifteen large-scale drawings were created by artist Klaus Mosettig in his Vienna studio over a period of almost two years, from the autumn of 2017 through to the summer of 2019.00The process that Mosettig used to make the drawings is every bit as mechanical and systematic as that which created the X-rays in the first place. The plates were first converted into medium format slides and beamed onto large sheets of paper. Working in strict positional sequence, Mosettig moved across each sheet from top to bottom, left to right, transferring the information that he received in the form of projected light into graphite strokes of varying intensities. Each stroke was applied in the same diagonal orientation, with Mosettig careful to minimize any sense of emphasis or personal interpretation, recording each detail as he saw it.00Exhibition: Kunsthistorisches Museum Wien, Austria (15.10.2019 - 19.01.2020).

One of the world's foremost collections of Old Masters is paying a visit to Vienna: fourteen masterpieces from the Hermitage Museum in St. Petersburg will enter into a dialogue with great paintings from the Kunsthistorisches Museum Vienna. On show are, for example, works by Botticelli, Tintoretto, Rembrandt and van Dyck. The representative selection of masterpieces from these two great collections offers a concise overview of European painting from the Renaissance to early Neoclassicism, and documents how effortlessly these paired paintings united by a common European cultural region communicate with each other. Exhibition: Kunsthistorisches Museum Wien, Austria (06.06. - 02.09.2018).