Coverbild Fresh Widow
Fresh Widow
The Window in Art since Matisse and Duchamp
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Edited by: Kunstsammlung Nordrhein-Westfalen
Foreword: Dr. Marion Ackermann
Texts by: Erich Franz, Rune Gade, Peter Kropmanns, Heinz Liesbrock, Isabelle Malz, Maria Müller-Schareck, Lisa Schmidt, Melanie Vietmeier, John Yau, Elke Bippus, Dr. Doris Krystof, Rolf Selbmann, Dr. Christoph Grunenberg, Dr. Stefan Gronert, Christian Müller, Hans Rudolf Reust, Ina Blom, Caroline Käding
Graphic Design: Sascha Simon Brenner, Sascha Lobe, L2M3 Stuttgart
English
May 2012 , 288 Pages
hardcover
1mm x 1mm
ISBN: 978-3-7757-3293-2
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| The window on the world, the window in the image
Formulated in 1434 by Leon Battista Alberti, the notion that a painting is like an open window influenced generations of painters. At the start of the twentieth century, the window, reduced to its framework, was employed as a motif and a symbol in order to test the function of painting as a means of reproduction. To the degree that the window is empty, its painted depiction denies us a perspective of the world. With Fresh Widow, the replica of a French window whose panes are covered in black leather, Marcel Duchamp postulated a farewell from illusionist painting in 1920. At the same time, it marked a new beginning. This publication reflects on the development of window painting in art through essays and monographic texts on artists such as Robert Delaunay, Henri Matisse, Marcel Duchamp, René Magritte, Ellsworth Kelly, Eva Hesse, Gerhard Richter, Günther Förg, and others. (German edition ISBN 978-3-7757-3292-5) Exhibition schedule: K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, March 31–August 12, 2012
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