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Virtual Catalogues
Subjects(RVK)
  • 1
    Book
    Book
    [Paris] :Flammarion,
    UID:
    almafu_BV011452519
    Format: 544, [16] S. : Ill.
    ISBN: 2-08-067383-1
    Series Statement: Grandes biographies
    Language: French
    Subjects: Romance Studies , Philosophy
    RVK:
    RVK:
    Keywords: 1884-1962 Bachelard, Gaston ; Biografie ; Biografie ; Biografie
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  • 2
    Book
    Book
    Paris : Éd. Écriture [u.a.]
    UID:
    gbv_293240760
    Format: 231 S.
    ISBN: 290924024X
    Note: Includes bibliographical references (p. 197-[209] , "Œuvres de Colette": p. 229-[232]
    Language: French
    Subjects: Romance Studies
    RVK:
    Keywords: Colette 1873-1954 ; Gespräch
    Author information: Colette 1873-1954
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  • 3
    Book
    Book
    [Paris] :Lattès,
    UID:
    almafu_BV009570526
    Format: 473 S. : Ill.
    Language: French
    Subjects: Romance Studies
    RVK:
    Keywords: 1880-1918 Apollinaire, Guillaume ; 1880-1918 Apollinaire, Guillaume ; Biografie ; Biografie
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  • 4
    UID:
    b3kat_BV013785035
    Format: 131 S. , zahlr. Ill.
    ISBN: 9231032356
    Series Statement: Cultures of peace
    Language: English
    Subjects: Sociology
    RVK:
    Keywords: Toleranz
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  • 5
    UID:
    b3kat_BV024524976
    Format: 175 S.
    Series Statement: rowohlts monographien.11.
    Language: Undetermined
    Subjects: Romance Studies
    RVK:
    Keywords: Colette 1873-1954 ; Autorenlesung ; Geschichte 1963 ; Autobiografie
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  • 6
    Book
    Book
    Reinbek b. Hamburg :Rowohlt,
    UID:
    almahu_BV003168000
    Format: 175 S.
    Series Statement: Rowohlts Monographien 11
    Uniform Title: Colette
    Note: Mit e. Verzeichnis d. Veröffentlichungen von u. über Colette S. 171 - 176
    Language: German
    Subjects: Romance Studies
    RVK:
    Keywords: 1873-1954 Colette ; Autorenlesung ; Autobiografie
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  • 7
    AV-Medium
    AV-Medium
    Tillingham : Roland-Verl.
    UID:
    kobvindex_ZLB12336550
    Format: 1 Videokass. (53 Min.)
    Edition: 1
    Series Statement: The Roland Collection 601
    Content: Reality is what every artist searches for, but each artist has a different idea of what reality is. A Renaissance artist did not seek to capture the same reality as an Expressionist; and contemporary creators are just as divided in their quest. This film examines the work of widely differing artists today: men like George Segal, who makes highly detailed plaster casts of the bodies of his own friends, and Antonio Recalcati, who 'prints' real people directly on to canvas. There is Michelangelo Pistoletto, who captures the spectators of his work through mirrors so that they become part of the work of art themselves; Jean-Pierre Reynaud, with his linking of two 'psycho-objects' otherwise quite unrelated; and Gérard Titus-Carmel, who tells an interviewer that the reality of his work is the drawing on the paper - 'right, there is an image somewhere. But ... it's not the image I'm interested in. It's the sort of movement ... the way things get drawn.' Wolf Vostell, who immortalizes a car or a woman in cement, says that he is seeking to understand the current meaning of life for modern humankind. These, of course, are all Europeans; American 'hyper-realists' like Chuck Close, John de Andrea, Richard MacLean, Don Eddy, Malcolm Morley, Ralph Goings, Richard Estes and Robert Cottingham use photography in their work to juxtapose one reality against another in a 'showdown of visions.' In Spain, by contrast, Antonio Lopez Garcia has been setting up his easel every morning for years in Madrid's Gran Vía, believing he must work from life for the sake of 'naturalness.' Hugo Pratt, comics artist and creator of Corto Maltese, tells an interviewer that comics, despised by academia, are a 'modern business' and 'dynamite' for formulating critical and political observation of current events. Jacques Monory works with photography, film and painting 'because if others don't look at me, I'm dead'; while Italian militant artist of the sixties Gianni Spadari has now given up his political struggles because 'in that voluntary commitment, I sacrificed a part of myself.' The film also features the work of Camille Bombois, Yves Klein, Jean-Olivier Hucleux, Peter Klasen, Vladimir Velickovic, Gérard Schlosser, Domenico Gnoli, Isabel Quintanilla, Claudio Bravo, Gilles Aillaud, Valerio Adami and others. (Roland Collection)
    Note: engl.
    Language: English
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  • 8
    AV-Medium
    AV-Medium
    Tillingham : Roland-Verl.
    UID:
    kobvindex_ZLB12336607
    Format: 1 Videokass. (53 Min.)
    Edition: 1
    Series Statement: The Roland Collection 541
    Content: The period between the wars seems, at first sight, to be a meager period for art. The First World War had left Europe virtually bloodless - how many future geniuses disappeared in the trenches? On the other hand there were new realities in a changed world that artists were going to have to face - the euphoria of victory, and the boom in technical progress. Many of the great artists were already on the scene: Pablo Picasso, for example, and Henri Matisse, who was well advanced in his pursuit of line and form when the war broke out; he was painting Piano Lesson in 1916, the year of Verdun. Forced to turn his attention to the realities threatened by humankind, his vision became less severe. But Matisse is not typical: the life of the Montparnasse-centered Paris School of the 1920s and 1930s - almost all of whom were foreigners - was spare and stricken by a kind of joyful poverty. Montparnasse had cheap hotels, studios for rent - and other painters, already there. In many ways it was a golden age: the same café table might hold Kisling, or Picasso, together with other personalities such as the famous fawn-eyed model Kiki or Amadeo Modigliani. Then there was Soutine, the painter of fermentation and love, and the Russian Jew Marc Chagall, who conceived his subjects on several levels at once. Above all there was diversity - perhaps impelled by the Depression and the inner knowledge that institutions weren't working. Le Corbusier and Ozenfant tried to combine geometry and figures. A new movement, Purism, attempted to go beyond the Cubists. Another minor school centered on the mystical association of the circle and the square, an ancient Chinese idea. Then Hitler marched into the Sudetenland and the new reality was with them all. The film also features the work of Pascin, Foujita, Léger, Gorin, Herbin, Helion, Arp, Dali and others. (Roland Collection)
    Note: engl.
    Language: English
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  • 9
    AV-Medium
    AV-Medium
    Tillingham : Roland-Verl.
    UID:
    kobvindex_ZLB12338021
    Format: 1 Videokass. (53 Min.)
    Edition: 1
    Series Statement: The Roland Collection 584
    Content: Since Marcel Duchamp, as early as 1914, began exhibiting selected everyday objects - a urinal, a bottle-rack - as 'readymade' works of art, questions about how we define art and what its social function is have been central to all serious artists' concerns. Hosts of Conceptual artists have followed the lead of Duchamp, no longer painting or sculpting in traditional ways, but creating provocative 'gestures' and adopting 'strategies' for making their viewers think about the nature and rôle of art itself, and how it relates to the major concerns of our lives. In this film, Jorn Merckert of the Berlin Academie der Kunst, says: 'Because the human condition today has changed so much, and because there is no longer a system, one single system existing for everybody, giving each person his place, people have lost their identity, they've lost all definition of what they want to do in life and of what they can do in life. And it is there, in that context, that art first of all reflects that identity crisis. Subsequently, art makes us aware of that identity crisis. And finally, every now and then, art provides an answer as to how one might combat that identity crisis.' Artists whose work is looked at include Dutchman Anton Heyboer, who offers as an artistic statement his own taking of multiple 'wives'; Wolf Vostell, who strews a floor with knives, forks and barbed wire, in a reference to the Nazi concentration camps; Christo, whose seventy-five-mile Running Fence was erected across California; and Joseph Beuys, who notoriously gave a performance in which he tried to explain art to a dead rabbit. As bizarre as such works will seem to some, this film attempts a thought-provoking exploration of their implications. (Roland Collection)
    Note: engl.
    Language: English
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  • 10
    AV-Medium
    AV-Medium
    Tillingham : Roland-Verl.
    UID:
    kobvindex_ZLB12336530
    Format: 1 Videokass. (53 Min.)
    Edition: 1
    Series Statement: The Roland Collection 582
    Content: When, in 1968, the youth of Europe - especially French youth - took to the barricades, they were protesting against ... what? Slogans were conveniently vague and motives were mixed and obscure. A quarter of a century later, little has changed politically (if change was the object); however, the art that emerged at the same time - in many ways a natural development of the Pop Art of the earlier sixties - has survived, though it has never ceased to be controversial. The major question that has always hung over the art of the happening, of the performance, of the assemblage, has been: is it art at all? Pre-dating the mass student violence of the late sixties, the first recorded happening was staged by American Alan Kaprow in 1959 in New York. It took many forms thereafter. Chris Burden remained in a room for twenty-two days without eating, hidden away; Gina Pane made gory self-mutilations - a sanguinary direction also pursued with considerably greater elaboration by Michel Journiac and Hermann Nitsch. Minimal art pays close attention to landscape and cityscape; Sol Lewitt programs computer graphics by artificial intelligence algorithms; then there are sculptors as diverse as Naum Gabo, Henry Moore, Jean Dubuffet, Isamu Noguchi, Eduardo Chillida, François Morellet, Alexander Calder and Mark di Suvero. Land artists work outside, like Robert Smithson with his Great Salt Lake Spiral, but Richard Long reverses the same idea, erecting natural-material constructions inside four walls. Finally comes Conceptual Art: the artist makes of himself the work. The film also features the work of Robert Rauschenberg, Jim Dine, Wolf Vostell, Tanaka Min, Arnulf Rainer, Bruce Naman, Larry Bell, Walter de Maria and many others. (Roland Collection)
    Note: engl.
    Language: English
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