Kleine Basler Kunstgeschichte
SKU: 28693439827

Kleine Basler Kunstgeschichte

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Kleine Basler KunstgeschichteVon der Galluspforte bis zur Performance Kunst, von Hans Holbein bis zu Jean Tinguely in 24 Essays nimmt die Kunsthistorikerin Jana Lucas die Leserinnen und Leser mit auf eine Reise durch die Basler Kunstgeschichte vom Mittelalter bis in die Gegenwart. Kaum eine andere Stadt wartet mit so vielen Kunst Superlativen auf wie Basel. Seit dem Mittelalter entstehen hier Werke von Weltrang, sowohl die lteste ffentliche Kunstsammlung als auch die grsste

Von der Galluspforte bis zur Performance-Kunst, von Hans Holbein bis zu Jean Tinguely - in 24 Essays nimmt die Kunsthistorikerin Jana Lucas die Leserinnen und Leser mit auf eine Reise durch die Basler Kunstgeschichte vom Mittelalter bis in die Gegenwart. Kaum eine andere Stadt wartet mit so vielen Kunst-Superlativen auf wie Basel. Seit dem Mittelalter entstehen hier Werke von Weltrang, sowohl die älteste öffentliche Kunstsammlung als auch die grösste Kunstmesse der Welt sind in Basel beheimatet. Jeweils ein Kunstwerk steht im Mittelpunkt jedes Essays. Die Autorin schildert, wie diese Werke mit der Geschichte der Stadt verbunden sind und aus welchem Grund sie bis heute zu begeistern vermögen. Neben prominenten Namen kommen auch Kunstschaffende zur Sprache, die weniger bekannt oder in Vergessenheit geraten sind. Ein besonderes Augenmerk gilt den von der Kunstgeschichte oft übergangenen Frauen.

EAN: 9783039690152
Farbverschnitt: Generell werden die Bücher ohne Farbverschnitt geliefert, auch wenn die Abbildungen einen Farbverschnitt zeigen.
Erscheinungsjahr: 21.10.2023
Produktform: Leinen, Gebunden
Autoren: Lucas, Jana
Seitenzahl/Blattzahl: 176
Keyword: Anna Luise Rüdisüli; Arnold Böcklin; Basler Münster; Basler Wollwirkerei; Bettina Eichin; Chrischona Jeckelmann; Dare; Doppelbildnis des Jacob Meyer zum Hasen und seiner Frau Dorothea Kannengiesser; Emilie Linder; Feuerstätte; Galluspforte; Goldene Tafel; Hans Holbein; Helen Balmer; Jean Tinguely; Joachim und Anna an der Goldenen Pforte; Joseph Beuys; Konrad Witz; Kurt Seligmann; Lenz Klotz; Mary Vieira; Meret Oppenheim; Miriam Cahn; Muda Matthis und Sus Zwick:; Méta-Maxi-Maxi-Utopia; Niklaus Stöcklin; Silvia Bächli; Street Art; Votivtafel der Isabella von Portugal; Walter Kurt Wiemken
Fachschema: Basel~Kunstgeschichte
Region: Basel-Stadt / Bâle-Ville / Basilea-Città / Basilea-Citad / Basle (City)
Thema: Verstehen, Entdecken
Fachkategorie: Kunstgeschichte
Text Sprache: ger
Verlag: Merian, Christoph Verlag, Christoph Merian Verlag
Länge: 155 mm
Breite: 98 mm
Höhe: 22 mm
Gewicht: 210 gr
Genre: Geisteswissenschaften/Kunst/Musik
Herkunftsland: DEUTSCHLAND (DE)
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SKU: 28693439827

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ImTooTired
Charlottesville, US
★★★★★ 5
Gender Roles is a scam
Format: Paperback
This is why most women play dumb. They play dumb to please males that it becomes who they are. It’s a waste of a lifetime to make yourself feel small just to make someone feel good about themselves.
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Reviewed in the United States on August 15, 2021
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Why read Butler when we have Wittig?
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Reviewed in the United States on November 27, 2017
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Lake Worth, US
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Great and thought-provoking!
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Reviewed in the United States on April 16, 2017
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Chris Eldredge
Dallas, US
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excellent sevice
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Reviewed in the United States on June 23, 2015
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Lee Hall
Charlottesville, US
★★★★★ 5
Gem from a brilliant thinker.
Format: Paperback
This book will forever redefine feminism for its readers. There are two threads: one political, the other literary commentary. Fortunately, Witting pulls the former into the latter. The astute and radical political critique in Wittig's book is uniquely powerful. Wittig addresses the question of how a movement is comprised of both group energy and individual experience. The theory, legacy, and limits of Marx and Engels are discussed. Then, drawing on de Beauvoir and other iconoclasts, Wittig addresses our dominator culture in a way that goes directly to its core. Wittig deals efficiently yet persuasively with the argument over whether nature or culture is responsible for inequality, declaring that "there is no sex." This statement becomes the book's alpha and omega, and the lens through which Wittig shows us history, literature, and the future of activism. Like whiteness, maleness is a social category that can be renounced. Man (Homo) once meant everybody in the human community -- it was indeed generic, in the unifying sense. Unfortunately, the word has so frequently been used to describe a socially constructed group that expels half of itself in order to oppress it, "man" is now identified with those identified as male. In the essay "The Category of Sex" Wittig writes: "The perenniality of the sexes and the perenniality of slaves and masters proceed from the same belief, and, as there are no slaves without masters, there are no women without men. The ideology of sexual difference functions as censorship in our culture by masking, on the grounds of nature, the social opposition between man and women. Masculine/feminine, male/female are the categories which serve to conceal the fact that social differences always belong to an economic, political, ideological order. ...The masters explain and justify the established divisions as a result of natural differences." I understand that Wittig has recently passed away. If only I had discovered this book a little earlier, so that I could have met the author. That feeling, I suppose, is the sign of a truly good read. "A text by a minority author is only successful if it succeeds in making the minority point of view unviersal" writes Wittig --and to read this book from beginning to end is to find that the author has done just that.
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Reviewed in the United States on July 11, 2004

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