Merz in the Mountains: Peripheral Art in a Peripheral Landscape – On Kurt Schwitters’s Norwegian Exile and Artistic Production in Møre og Romsdal, 1937–1940

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F19%3A73589750" target="_blank" >RIV/61989592:15210/19:73589750 - isvavai.cz</a>

Výsledek na webu

<a href="https://obd.upol.cz/id_publ/333169636" target="_blank" >https://obd.upol.cz/id_publ/333169636</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1163/9789004388291_22" target="_blank" >10.1163/9789004388291_22</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Merz in the Mountains: Peripheral Art in a Peripheral Landscape – On Kurt Schwitters’s Norwegian Exile and Artistic Production in Møre og Romsdal, 1937–1940

Popis výsledku v původním jazyce

In 1937 the German artist Kurt Schwitters went into exile in Norway together with his son Ernst. They had to go for political reasons: involvement in resistance activities in Germany and an increasingly unbearable situation under Nazi rule for modern art persecuted as “Entartete Kunst”. Here, landscape painting became a major focus in Schwitters&apos;s artistic production, which he did not regard as a diversion away from avant-garde “new art”, but rather as a continuation in line with his previous avant-garde work. The abstract landscapes were a painterly translation of functionalist-constructivist photography in so-called “New Vision”. Through its obvious absence of “Nordic” icons and elements popular in völkisch Nordicist representations of Norway, his landscapes also had an implicit political dimension.

Název v anglickém jazyce

Merz in the Mountains: Peripheral Art in a Peripheral Landscape – On Kurt Schwitters’s Norwegian Exile and Artistic Production in Møre og Romsdal, 1937–1940

Popis výsledku anglicky

In 1937 the German artist Kurt Schwitters went into exile in Norway together with his son Ernst. They had to go for political reasons: involvement in resistance activities in Germany and an increasingly unbearable situation under Nazi rule for modern art persecuted as “Entartete Kunst”. Here, landscape painting became a major focus in Schwitters&apos;s artistic production, which he did not regard as a diversion away from avant-garde “new art”, but rather as a continuation in line with his previous avant-garde work. The abstract landscapes were a painterly translation of functionalist-constructivist photography in so-called “New Vision”. Through its obvious absence of “Nordic” icons and elements popular in völkisch Nordicist representations of Norway, his landscapes also had an implicit political dimension.

Druh

C - Kapitola v odborné knize

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950

ISBN

978-90-04-38829-1

Počet stran výsledku

34

Strana od-do

375-408

Počet stran knihy

966

Název nakladatele

Brill Academic Publishers

Místo vydání

Leiden

Kód UT WoS kapitoly

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