Annegret Hoberg
Autore di Wassily Kandinsky and Gabriele Münter : letters and reminiscences : 1902-1914
Sull'Autore
Opere di Annegret Hoberg
Wassily Kandinsky and Gabriele Münter : letters and reminiscences : 1902-1914 (1994) — Autore — 71 copie
Franz Marc: The Complete Works, Volume 2: The Watercolours, Works on Paper, Sculpture and Decorative Arts (2004) 5 copie
Franz Marc: The Complete Works, Volume 1: The Oil Paintings (Complete Works (Philip Wilson Publishers)) (2004) 5 copie
Alfred Kubin 1877-1959 : 3. Oktober bis 2. Dezember 1990 Städtische Galerie im Lenbachhaus, München : 14.… (1990) 3 copie
Opere correlate
Etichette
Informazioni generali
- Sesso
- female
- Nazionalità
- Germany
- Luogo di nascita
- Düsseldorf, Germany
- Luogo di residenza
- Lehel, Munich, Bavaria, Germany
- Attività lavorative
- art historian
Curator - der Städtischen Galerie im Lenbachhaus
Utenti
Recensioni
Potrebbero anche piacerti
Autori correlati
Statistiche
- Opere
- 23
- Opere correlate
- 4
- Utenti
- 245
- Popolarità
- #92,910
- Voto
- 4.1
- Recensioni
- 1
- ISBN
- 42
- Lingue
- 2
The reader has to interpolate between the points in the letters when there is either no correspondence because the couple was together, or because the letters are no exist, but like the pair’s paintings, the feelings and impression of their lives come through. I have to say, I found myself more sympathetic to Kandinsky than I previously had been, as Mϋnter comes across as gloomy, dour, and often irritable towards him when she has no cause to be.
Editorially, I thought that Hoberg could have done a little better job at trimming content and filling in more of the story. At times the letters dip into mundane detail, which reminds us that even great people are simple humans, but which becomes a little tedious at times. Meanwhile there are larger things that aren’t expanded on about their lives or the world. One example is her alluding to Kandinsky’s writing about the direction the Russo-Turkish War was taking but then not including any of it, something I think would have been interesting. Another is in not mentioning that their friend Franz Marc, who we see referred to and in pictures, would die at the battle of Verdun in WWI.
On the other hand, what she pulled together here give us rare insight, and the paintings and photos she includes are not only fantastic but well placed in the text. It’s a handsome book, and for fans of either artist, well worth seeking out.
Quotes:
On art, from Mϋnter in 1911, writing of her breakthrough a few years before:
“After a short period of agony I took a great leap forward – from copying nature – in more or less Impressionist style – to feeling the content of things – abstracting – conveying an extract.”
And this one, which she wrote in 1957 at the age of 80; I love the analogy:
“Then I saw the Berggeist inn down below & the way the road climbed up & the blue mountain behind & little red clouds in the evening sky. I quickly sketched the picture that presented itself to me. Then it was like I woke up & had the sensation as if I were a bird that had sung his song.”
On causing pain, from Kandinsky in 1911:
“With all my heart (words are always so stupid and feeble) I hope that you feel well in every sense, that you are recovering from me, and are in good, cheerful spirits. It grieves my heart (even though I am sometimes able to suppress it) that I make life so unpleasant for you. What’s the use of telling you and myself that I cannot help it? Years ago I seriously thought of going to Siberia & freeing the people I love from me. It would be better if these people were to abandon me and I were alone and could do no damage…”
On improving and continuing to evolve, from Kandinsky in 1912:
“…I hope we will not remain like bottled preserves, but continue to evolve until our dying day.”
On Russia, from Kandinsky in 1910:
“But how Russian and yet also un-Russian I feel! How some things almost move me to tears and some things make my heart beat louder. How different the people are. Why is life here…more intense and gripping?”
And this from later in the same year:
“I wonder when the Russ. Impressions will begin to wear off & whether they will be well reflected in my art. In point of fact Moscow has always been the cornerstone, the leitmotiv, of my art: the conflict & the contrasts, the displacement, the mishmash, have their real origin here.”… (altro)