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.
Dealer Info | Trade discount 1 cpy. 30% | 2-3 cps. 35% | 4+ cps. 40% |
Editor | Stefanie Heckmann, Thomas Köhler, Janina Nentwig |
Publisher | Hirmer |
Year | 2023 |
Cover | Hardcover |
Language | German |
ISBN | 978-3-7774-4217-4 |
Pages | 304 |
Weight | 1456 g |
More | |
Contributors | P. Behrmann, C. Feilchenfeldt, S. Heckmann et al. |
Type of book | Exhib'publication |
Museum / Place | Berlinische Galerie |
Article ID | art-64172 |
Edvard Munch’s radical modernity in painting was a challenge for his contemporaries. This applied in particular to the art scene in Berlin around 1900 which the Norwegian Symbolist artist influenced profoundly. In return, he received support there and was able to continue to develop his work. The publication is lavishly illustrated and describes knowledgeably the story of Munch and Berlin.
In 1892 the Association of Berlin Artists invited the still-unknown Edvard Munch (1863–1944) to an exhibition. The public was shocked by the colourful, sketch-like pictures. The artist enjoyed the furore and moved to the city on the Spree, where he repeatedly sojourned until 1908. Here he learned the techniques for printed graphics and presented for the first time paintings in several continuous series which would become central to his oeuvre. In Berlin, before long, the concept of the “Magic of the North” (Stefan Zweig) was no longer associated with romantic or naturalistic fjord landscapes, but with Munch’s psychologically concentrated pictorial worlds