art book cologne GmbH & Co. KG
Deutzer Freiheit 107
50679 Köln
Germany
Opening hours (office and showroom):
Monday to Friday 8 – 17
info@artbookcologne.de
Phone: +49 221 800 80 80
Fax: +49 221 800 80 82
art book cologne, founded by Bernd Detsch in 1997, is a wholesale company and specializes in buying and selling high quality publications in art, art theory, architecture, design, photography, illustrated cultural history and all related subjects internationally. Our team includes specialists in art, culture, music, book trade and media but in spite of our diversity we have one common ground: the enthusiasm for unique art books.
We purchase remaining stocks from museums, publishers and art institutions. We sell these remainders to bookstores, museum shops, and art dealers all over the world.
Publisher | Hudson Hills Press |
Year | 2011 |
Cover | Cloth with dust jacket |
Language | English |
ISBN | 978-1-55595-335-5 |
Pages | 300 |
Weight | 2330 g |
More | |
Author(s) | Susan C. Larsen, Neil Juhl Larsen |
Article ID | art-24280 |
The definitive monograph on the internationally celebrated American whose artwork and published wirting influenced twentieth-century concepts of art and theory, which appealed greatly to British modernists in the postwar period as well as artists in the Netherlands and Canada.
Charles Biederman traveled widely as a young man and exhibited his early work Chicago, New York, and Paris to wide critical acclaim. His early supporters included Albert E. Gallatin, George L.K. Morris Pierre Matisse, James Johnson Sweeney, Alfred Barr, Katherine Kuh, and Clement Greenberg.
Biederman‘s Paris sojourn introduced him to Fernand Léger, Piet Mondrian, Constantin Brancusi, and many other modern masters. However, his Paris experiences convinced him that the future development of modern art would be achieved in America. Biederman returned to the United States and settled in Chicago, where he had two solo exhibitions and attened lectures by the influcential semanticist Alfred Korzybski. In late 1938, Biederman began to create three-dimensional highly colored relief. In the following years, he would employ new plastics, galss, and even fluroenscent light in his reliefs, many of theses now in prominent museum collections, including the Art Institute of Chicago and The Metropolitan Museum of Art, New York.