Evelyn Benesch

Judith C. E. Belinfante

Painting For Her Life Charlotte Salomon's artistic feat under the Third Reich When German artist Charlotte Salomon (1917-1943) handed her gouache series Life? or Theater? over to a friend, she beseeched him to "take good care of it, it is my entire life." A few months later, the five-months pregnant Charlotte was picked up by a Gestapo truck, deported to Drancy, and then on to Auschwitz, where she died upon arrival at the age 26. Trauma haunts many of the pages, but there is defiance, too. Born of a family plagued by depression, the work Salomon left behind is, in a very real sense, her pièce de résistance - in her own words, "something wildly eccentric." A cycle of nearly 1,300 autobiographical gouaches, it combines creative force with pioneering personal narrative into one shattering document of self-expression. Divided into three sections, the gouaches unveil a vivid self-portrait spanning across all facets of Charlotte's existence: from a complicated family life, marked by the suicides of nearly all female relatives; growing up in Berlin; her close relation to singing teacher Alfred Wolfsohn; the rise of the Nazis; to her exile to France in 1939. Throughout, the artist challenges these destructive forces by deploying playful pseudonyms and fantastical elements alongside emotional candor, remarkable observation, and a meticulous visual memory.

A Selection of 450 Gouaches

Life? Or Theatre?

Christoph Grunenberg

Marian Bisanz-Prakken

Susanna Partsch

Anette Freytag

Michaela Reichel

Rainald Franz

Angelina Pötschner

The prince of decadence: Looking at Klimt in a whole new light: a groundbreaking monograph The countless events being held to celebrate the 150th anniversary of his birth make a clear statement to the enduring appreciation for the work of Gustav Klimt. Not that it takes such a special occasion for the press and the public to start talking about Klimt. More than two hundred articles about the artist appeared online in August 2011 alone, in comparison with barely seventy on Rembrandt within the same period. This media publicity set editor Tobias G. Natter thinking about the value of compiling the present book. During his lifetime, Klimt was a controversial star whose works made passions run high; he stood for Modernism but he also embodied tradition. His pictures polarized and divided the art-loving world. Journalists and general public alike were split over the question: For or against Klimt? The present publication therefore places particular emphasis upon the voices of Klimt's contemporaries via a series of essays examining reactions to his work throughout his career. Subjects range from Klimt's portrayal of women to his adoption of landscape painting in the second half of his life. The cliché that Gustav Klimt was a man of few words who rarely put pen to paper is vehemently dispelled: no less than 179 letters, cards, writings and other documents are included in this monograph. This wealth of archival material, assembled here for the first time on such a scale, represents a major contribution to Klimt scholarship. Defining features of this edition: Catalog of Klimt's complete paintings All known letter correspondence Featuring new photographs of the Stoclet Frieze commissioned exclusively for this book Contributing authors: Evelyn Benesch, Marian Bisanz-Prakken, Rainald Franz, Anette Freytag, Christoph Grunenberg, Hansjörg Krug, Susanna Partsch, Angelina Pötschner and Michaela Reichel

Sämtliche Gemälde

Gustav Klimt

Evelyn Benesch

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