| ISBN13: | 9781032209784 |
| ISBN10: | 103220978X |
| Binding: | Paperback |
| No. of pages: | 202 pages |
| Size: | 246x174 mm |
| Weight: | 370 g |
| Language: | English |
| Illustrations: | 50 Illustrations, black & white; 20 Illustrations, color; 50 Halftones, black & white; 20 Halftones, color |
| 693 |
Arts in general
Painting, graphics
The Enlightenment, Romanticism, The Realist Age
Modernism, postmodernism
History of Europe
Philosophy of politics
Art history in general
Second half of 20th century and 21st century
Other braches of fine arts
Political systems and theories
Arts in general (charity campaign)
Painting, graphics (charity campaign)
The Enlightenment, Romanticism, The Realist Age (charity campaign)
Modernism, postmodernism (charity campaign)
History of Europe (charity campaign)
Philosophy of politics (charity campaign)
Art history in general (charity campaign)
Second half of 20th century and 21st century (charity campaign)
Other braches of fine arts (charity campaign)
Political systems and theories (charity campaign)
Gerhard Richter, Individualism, and Belonging in West Germany
GBP 39.99
Click here to subscribe.
Not in stock at Prospero.
This book reevaluates the art of Gerhard Richter (b. 1932) in relation to his efforts to achieve belonging in the face of West Germany?s increasing individualism between the 1960s and the 1990s.
This book reevaluates the art of Gerhard Richter (b. 1932) in relation to his efforts to achieve belonging in the face of West Germany?s increasing individualism between the 1960s and the 1990s.
Richter fled East Germany in 1961 to escape the constraints of socialist collectivism. His varied and extensive output in the West attests to his greater freedom under capitalism, but also to his struggles with belonging in a highly individualised society, a problem he was far from alone in facing. The dynamic of increasing individualism has been closely examined by sociologists, but has yet to be employed as a framework for understanding broader trends in recent German art history. Rather than critique this development from a socialist perspective or experiment with new communal structures like a number of his colleagues, Richter sought and found security in traditional modes of bourgeois collectivity, like the family, religion, painting and the democratic capitalist state.
The book will be of interest to scholars working in art history as well as German history, culture and politics.
