Lehmbruck


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Lehmbruck

Wilhelm . 1881--1919, German sculptor and graphic artist
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
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Over the course of the conversation, the three characters vacillate between two distinct bodies of work vying to fill the pavilion: first, the abstract forms derived from Ristic's scenography, and second, a series of statuettes of the "generic" female nude, produced by combining a Lehmbruck figurine from Haus Lange with a smaller model of Kolbe's Der Morgen.
The counterpoint to this villa in a northern town is a Mediterranean tourist village, where Lehmbruck rents a room and observes the son of the landlady.
Constantin Brancusi's exophthalmic Mademoiselle Pogany, 1912, and Joseph Bernard's genteel Young Girl with a Jug, 1912, contrast with the Germanic medieval izing of Wilhelm Lehmbruck's Kneeling Woman, 1911, not to mention a famed bas-relief of a frame-enclosed nude by Aristide Maillol.
"Double Life," the next spread, shows Fritsch dressed in a trench coat before an oversize figure at the Wilhelm Lehmbruck Museum in Duisburg, Germany.
The Hussite battles of the fifteenth century linked to colonial battles of the nineteenth in Sourkova and Gilbert's drawings; the pain of the mourners in Wilhelm Lehmbruck's sculptures echoed that of Michelangelo's Pieta, as conjured by Selg's sculptures.
For this collaborative retrospective, the Wilhelm Lehmbruck Museum presents twenty-five installations and Conceptual works while the Kunsthalle Dusseldorf brings together about fifty of Ruthenbeck's sculptures and photographs.
1 JOSEPH BEUYS'S FINAL SPEECH In January 1986, eleven days before his death, Joseph Beuys gave a speech as he accepted the Wilhelm Lehmbruck Prize in Duisburg, Germany.
Constructed on radiant stage sets reminiscent of the white cube, Chung's dreamlike works (to be included in an exhibition this summer at the Wilhelm Lehmbruck Museum in Duisburg, Germany) succeed in merging signifiers of taste, race, class, and masculinity--an improvement over the usual "just add water" postmodern recipe.
Bass Gallery, you are already solicited by Picasso's Les Demoiselles d'Avignon, 1907, in one adjacent space and, in another, by Wilhelm Lehmbruck's large Standing Youth, 1913 (one of the few domineering sculptures in the installation).
In Backsliding, Sideslipping, One Great Leap and the "Forbidden," 1994/2002, she quotes the interior of Le Corbusier's Villa Savoye within the museum space as the exhibition architecture for her own works as well as a selection from the permanent collection: Joseph Beuys, Ben Vautier, Gerhard Richter, Umberto Boccioni, and Wilhelm Lehmbruck. With the folklike dance of her Hunchbacks, 1994, McBride introduces into the model of modernism she has thus quoted a narrative explicitly excluded from it.