Pierre Bonnard na Fondation Beyeler

Pierre Bonnard Le Cabinet de toilette, 1932 The Bathroom Oil on canvas, 121 × 118.2 cm The Museum of Modern Art, New York, Florene May Schoenborn Bequest 1996 photo: © 2012, The Museum of Modern Art, New York / Scala Florence © 2012, ProLitteris, Zurich



Pierre Bonnard 29,01. - 2012/05/13

Com a exposição "Pierre Bonnard", a Fondation Beyeler comemora o grande colorista francês e um dos mais fascinantes artistas modernos.



With the exhibition “Pierre Bonnard”, the Fondation Beyeler celebrates the great French colorist and one of the most fascinating of modern artists.






Bonnard in the garden George Besson, 1942 Photo: © Archives Besson, Besançon



Mais de 60 pinturas de renomados museus e coleções particulares fornecem informações sobre todas as fases de sua carreira.

More than 60 paintings from renowned museums and private collections provide insight into all phases of his career.





Pierre Bonnard La Partie de croquet, 1892 The Croquet Game Oil on canvas, 130 × 162.5 cm  Musée d‘Orsay, Paris Photo: © RMN, Musée d‘Orsay / Hervé Lewandowski © 2012, ProLitteris, Zurich



Pierre Bonnard (1867 - 1947) foi um co-fundador do grupo de artistas conhecidos como os Nabis, que admiravam o estilo de Paul Gauguin e as estampas japonesas.

Pierre Bonnard (1867 – 1947) was a co-founder of an artist‘s group known as the Nabis, who admired the style of Paul Gauguin and Japanese woodblock prints.





Pierre Bonnard Place Clichy, 1906–07 Oil on canvas, 102.1 × 116.6 cm private collection © 2012, ProLitteris, Zurich

Em Paris, Bonnard mostrava a agitada vida nas ruas e nos cafés, antes de se retirar para a Normandia, muito perto do jardim de Monet, e posteriormente para a ensolarada Côte d'Azur, onde ele foi inspirado pela luz e pelas cores do ambiente mediterrânico.

In Paris, Bonnard depicted the bustling life on the streets and in the cafés, before retiring first to Normandy, very close to Monet‘s water-lily garden, then to the sunny Côte d‘Azur, where he was inspired by the light and colors of the Mediterranean environment.






Pierre Bonnard Le Cabinet de toilette au canapé rose (Nu à contre-jour), 1908 The Dressing Room with Pink Sofa (Nude in Contre-Jour) Oil on canvas, 124.5 × 108 cm Musées royaux des Beaux-Arts de Belgique, Brussels Photo: © Musées royaux des Beaux-Arts de Belgique, Brussels / J. Geleyns / http://www.roscan.be/ © 2012, ProLitteris, Zurich

Experimentando continuamente, ele produziu variantes em combinações de cores sempre novas e surpreendente pontos de vista sobre temas da vida quotidiana, onde o tempo só parece ter parado na aparência.

Continually experimenting, he produced variants in ever-new color combinations and from surprising points of view on subjects from everyday life, in which time only apparently seems to stand still.




Pierre Bonnard Fenêtre ouverte sur la Seine (Vernon), 1911–12 Open Window towards the Seine (Vernon) Oil on canvas, 78 × 105.5 cm Musée des Beaux-Arts de Nice Photo: Muriel Anssens © Ville de Nice © 2012, ProLitteris, Zurich


A modelo preferida do artista era a misteriosa Marthe, sua musa e mulher.
The artist‘s favorite model was the mysterious Marthe, his muse and wife.






Pierre Bonnard Place Clichy, 1912 Oil on canvas, 138 × 203 cm Musée national d‘Art moderne, Centre Georges Pompidou, Paris, Deposit at the Musée des Beaux-Arts et d‘Archéologie, Besançon, Donation Adèle and George Besson 1963 Photo: © Centre Pompidou / Musée National d’art moderne / Charles Choffet / Musée des Beaux-Arts et d’Archéologie, Besançon © 2012, ProLitteris, Zurich



Bonnard criou harmoniosas naturezas-mortas, interiores enigmáticos, nus femininos intimistas, auto-retratos emocionantes, paisagens e decorativas, e sua magnífica paleta é única na arte moderna.

Bonnard created harmonious still lifes, enigmatic interiors, intimate female nudes, moving self-portraits, and decorative landscapes whose magnificent palette is unique in modern art.




Pierre Bonnard La Symphonie pastorale (Campagne), 1916–1920 Pastoral Symphony (Landscape) Oil on canvas, 130 × 160 cm Musée d‘Orsay, Paris, Donation Fondation Meyer 2009 Photo: © Musée d’Orsay, Dist. RMN / Patrice Schmidt © 2012, ProLitteris, Zurich 

 




Pierre Bonnard Décor à Vernon (La Terrasse à Vernon), ca. 1920/1939 The Terrace at Vernon Oil on canvas, 148 × 194.9 cm The Metropolitan Museum of Art, New York Gift of Florence J. Gould 1968 Photo: bpk / The Metropolitan Museum of Art, New York © 2012, ProLitteris, Zurich




Pierre Bonnard La Nappe blanche, 1925 The White Tablecloth Oil on canvas, 100 × 109 cm Von der Heydt-Museum Wuppertal Photo: Von der Heydt-Museum Wuppertal © 2012, ProLitteris, Zurich




Pierre Bonnard Baignoire (Le Bain), 1925 The Bath Oil on canvas, 86 × 120.6 cm Tate, presented by Lord Ivor-Spencer-Churchill through the Contemporary Art Society 1930 Photo: © 2012, Tate, London © 2012, ProLitteris, Zurich




Pierre Bonnard La Table de travail, 1926/1937 Work Table Oil on canvas, 121.9 × 91.4 cm National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon 2006 Photo: Courtesy National Gallery of Art, Washington © 2012, ProLitteris, Zurich




Pierre Bonnard Autoportrait (Le Boxeur), 1931 Self-Portrait (The Boxer) Oil on canvas, 54 × 74.3 cm Musee d‘Orsay, Paris, Donation Philippe Meyer 2000 Photo: © RMN, Musée d‘Orsay / Michèle Bellot © 2012, ProLitteris, Zurich




Pierre Bonnard Grande Salle à manger sur le jardin, 1934–35 Dining Room on the Garden Oil on canvas, 126.8 × 135.3 cm Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim Founding Collection, by gift Photo: Solomon R. Guggenheim Museum, New York © 2012, ProLitteris, Zurich





Pierre Bonnard La Grande Baignoire (Nu), 1937–1939 The Large Bathtub (Nude) Oil on canvas, 94 × 144 cm Private collection Photo: © Volker Naumann © 2012, ProLitteris, Zurich

http://www.fondationbeyeler.ch/

Per Kirkeby e as 'Pinturas Proibidas" de Kurt Schwitters

Per Kirkeby, Untitled, 1982, Chalk on Masonite, 122 x 122 cm, Galerie Michael Werner.


Bozar
Bruxelas
de 2 fevereiro - 20 maio, 2012





Per Kirkeby, © Helene Sandberg.

 
O Centro de Belas Artes apresenta uma retrospectiva da obra de Per Kirkeby (nascido em 1938), um dos pintores chave da vanguarda dinamarquêsa.






Per Kirkeby, Hest (Horse), 1981, Oil on canvas, 200 x 240 cm, Private collection.

 Mas o que significa a vanguarda: a ruptura, o minimalismo, a captação, empréstimos a subversão,? Pode-se encontrar tudo isto em um corpo de trabalho prolífico que começou na década de 1960, na esteira do movimento Fluxus.


But just what does avant-garde mean: rupture, minimalism, abstraction, borrowings, subversion? One can find all of those in a prolific body of work that began in the 1960s in the wake of the Fluxus movement.

Per Kirkebym 'Vermisst die Welt', 1997, Oil on canvas, 300 x 500 cm, Folkwang Museum, Essen.



Mas isso é apenas um aspecto de uma obra muito diversificada que atrai tanto na figuração do classicismo dinamarquês e as experiências  dos mestres francesesdo século 19, como Eugène Delacroix.

But that is only one aspect of a very diverse oeuvre that draws just as much on the figuration of Danish classicism and the experiments of 19th-century French masters such as Eugène Delacroix.

Kurt Schwitters, Lysaker, about 1939, oil on plywood, 85,5 x 78 cm, 88 x 80,5 cm (frame), Kurt und Ernst Schwitters Foundation, Hannover, photos: Kurt Schwitters Archives at the Sprengel Museum Hannover, photographer: Michael Herling / Aline Gwose, Sprengel Museum.


Kirkeby não pode ser classificado, nem ele quer ser: ele prefere implacavelmente questionar a posição e as percepções do observador, um processo artístico que o viu voltar-se para diferentes mídias (tela, quadros, papel, bronze, etc) em uma afirmação da liberdade que encontra, como um geólogo treinado, na onipresença da natureza.


Kirkeby cannot be pigeonholed, nor does he want to be: he prefers to relentlessly question the position and the perceptions of the observer, an artistic process that has seen him turn to different media (canvas, blackboards, paper, bronze, etc.) in an assertion of the freedom he finds, as a trained geologist, in the omnipresence of nature.






Per Kirkeby, Untitled, 2011, Tempera on canvas, 200 x 160 cm, Galerie Michael Werner.


O artista dinamarquês reconhece neste trabalho o seu próprio credo: uma afirmação visceral de sua liberdade como artista.

The Danish artist recognises in this work his own credo: a visceral assertion of his freedom as an artist.



 
Kurt Schwitters, Parti fra Skodje ved Ålesund (Partial View from Skodje near Ålesund), 1940, oil on wood, 63,8 x 49,5 cm, Kurt und Ernst Schwitters Foundation, Hannover, photos: Kurt Schwitters Archives at the Sprengel Museum Hannover, photographer: Michael Herli.



O pintor e escultor dinamarquês, Per Kirkeby e arquiteto nasceu como o filho de um engenheiro de Copenhagem, em 1 de outubro de 1938.

The Danish painter, sculptor and architect Per Kirkeby was born as the son of an engineer in Copenhagen on October 1, 1938.





Per Kirkeby, Laeso - Kopf IV, 1983, Bronze, Edition: 6+0, Guß 4/6 66 x 32 x 25 cm Galerie Michael Werner.



Suas atividades na cena de artística  dinamarquêsa datam de volta aos anos 1950 e 1960, quando ele contribuiu para Fluxus e os Happenings. Em 1962 Kirkeby se juntou ao grupo de arte de vanguarda "Den Ekperimenterende Kunstkole".


His first activities in the Danish art scene date back to the 1950s and 1960s, when he contributed to various Fluxus and Happening activities. In 1962 Kirkeby joined the avant-garde art group "Den Ekperimenterende Kunstkole."




Per Kirkeby 'Viel später', 1991-1992 Oil on canvas 300 x 500 cm Louisiana Museum of Modern Art.



É neste contexto que a sala de Kurt Schwitters na exposição é tão relevante.

It is in this context that the Kurt Schwitters room in the exhibition is so relevant.





Per Kirkeby Untitled, 1998 Oil on canvas 200 x 260 cm Essl Museum – Kunst der Gegenwart.






Per Kirkeby, 'Modell für Antwerpen', 1992 Bronze, Edition: 6, 5/6 12 x 33 x 23 cm Galerie Michael Werner.

 
http://www.bozar.be/activity.php?id=6446








Bozar
Rue Ravenstein 23
+ 32 (0)2 507 82 00
Brussels

Hammershøi e a Europa

Vilhelm Hammershøi (1864 - 1916)Interior with the Artist's Easel
National Gallery of Denmark
1910 Oil, on canvas 84 x 69 cm

Estará a mostra na Galeria Nacional da Dinamarca a partir de 4 fevereiro - 20 maio 2012.




Vilhelm Hammershøi (1864 - 1916)Self-portrait
Private collection 1891 Oil on canvas 54 x 42 cm


Hammershøi é uma das figuras mais importantes na história da arte dinamarquêsa. Até agora as suas fontes de inspiração europeias permaneceram desconhecidas, mas não mais - na Primavera deste ano, uma grande exposição na Galeria Nacional da Dinamarca vai lançar uma nova luz sobre as realizações artísticas de Hammershøi.

Hammershøi is one of the most important and distinctive figures in the history of Danish art. Until now his European sources of inspirations have remained undiscovered, but not anymore – this spring, a major exhibition at The National Gallery of Denmark will shed new light on Hammershøi’s artistic endeavours.

 

Vilhelm Hammershøi (1864 - 1916)Standing Female Nude
National gallery of Denmark
1909-10 Oil on canvas 205 x 153 cm






Paul Gauguin (1848 - 1903)Tahitian Women Bathing
The Metropolitan Museum of Art, New York (Lehman Collection)
1892 Oil on canvas 109,9 x 89,5 cm








Vilhelm Hammershøi (1864 - 1916)Artemis
National Gallery of Denmark 1893-94 Oil on canvas 193 x 251,5 cm



A exposição na Galeria Nacional da Dinamarca tem por objetivo reavaliar Hammershøi fazendo uma dupla abordagem. Oferece uma apresentação abrangente de arte Hammershøi, incluindo uma seleção de suas obras mais importantes.

The exhibition at the National Gallery in Denmark aims to re-evaluate Hammershøi by taking a dual-sided approach. It offers a comprehensive presentation of Hammershøi’s own art, including a selection of his most important works.





Pierre Puvis de Chavannes (1824 - 1898)Young Women by the Sea (small version)
Musée d'Orsay, Paris c. 1879 Oil on canvas 61 x 47 cm

 


E orgulha-se de empréstimos muito significativos de todo o mundo justapondo suas pinturas com as de outros proeminentes artistas europeus de sua época, incluindo Whistler, Carrière, Fantin-Latour, Gauguin, Seurat, Khnopff, de Puvis Chavan-nes, Munch, e Bonnard.

And it boasts very significant loans from across the world that juxtapose his paintings with paintings by some of the pre-eminent European artists of the day, including Whistler, Carrière, Fantin-Latour, Gauguin, Seurat, Khnopff, Puvis de Chavan-nes, Munch, and Bonnard.







Vilhelm Hammershøi (1864 - 1916)Three Young Women
Ribe Kunstmuseum 1895 Oil on canvas 128 x 167 cm



Karsten Ohrt, diretor da Galeria Nacional da Dinamarca: "Hammershøi não estava sozinho no mundo.

Karsten Ohrt, director of the National Gallery in Denmark: “Hammershøi was not alone in the world.






James McNeill Whistler (1834 - 1903)Arrangement in Grey and Black No. 1: Portrait of the Painter's Mother
Musée d'Orsay, Paris 1871 Oil on canvas 144,3 x 162,5 c


Nossa exposição pretende demonstrar que vários outros artistas da época tiveram abordagens semelhantes aos fenômenos que descrevem, tais como atmosfera e existência, mais do que narrativas.

Our exhibition aims to demonstrate that several other artists of the time took similar approaches to depicting phenomena, such as atmosphere and existence, rather than narratives.







Vilhelm Hammershøi (1864 - 1916)Interior with a Young Man Reading
en Hirschsprungske Samling, Copenhagen 98 il on canvas 4,4 x 51,8 cm



A nova exposição não só vai lançar a luz sobre qualquer inspiração direta que pode ter ocorrido entre Hammershøi e suas influências contemporâneas, mas também aponta para o número de realizações artísticas compartilhadas, certas características e afinidades, acentuando assim uma série de paralelos óbvios entre Hammershøi e vários dos seus contemporâneos, especialmente no ramo não-literário do movimento simbolista internacional


The new exhibition will not only shed light on any direct inspiration that may have taken place between Hammershøi and his contemporary influences; it also points to how many artistic endeavours shared certain traits and affinities, thereby accentuating a number of obvious parallels between Hammershøi and several of his contemporaries, especially within the non-literary branch of the international Symbolist movement.”





Edvard Munch (1863 - 1944)Night in Saint Cloud
Private collection (dep. The Metropolitan Museum of Art, New York) 893 il on canvas 0 x 56,5 cm







Ferdnand Khnopff (1858 - 1921)Posthumous Portrait of Marguerite Landuyt
Musées Royaux des Beaux-Arts de Belgique, Bruxelles 896 ol on canvas 5,2 x 74,5 cm







 Vilhelm Hammershøi (1864 - 1916)Interior from Strandgade with Sunlight on the Floor
National Gallery of Denmark 901 Oil on canvas 46,5 x 52 cm

 









http://www.smk.dk/en/visit-the-museum/visiting-information/






enderêço:
Galeria Nacional da Dinamarca
Statens Museum for Kunst
Sølvgade 48-50
DK-1307 Copenhagen K



horário de funcionamento
Terças-domingos a.m.-5 22:00
Quartas-feiras, dez horas - oito horas
segundas-feiras fechado

Edvard Munch: O Olhar Moderno

 
Edvard Munch
The Girls on the Bridge, 1902
oil on canvas 100 x 102 cm private collection
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012


9. Fevereiro - 13. maio 2012
Schirn Kunsthalle Frankfurt





Edvard Munch
The Girls on the Bridge, 1927 oil on canvas  100 x 90 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012

 .

Edvard Munch é aclamado por sua viva pintura simbolista e considerado como um pioneiro do expressionismo.

Edvard Munch is acclaimed for his vivid Symbolist painting and regarded as a pioneer of Expressionism.

Edvard Munch

Two Human Beings. The Lonely Ones, 1905
oil on canvas 80 x 110 cm collection of Philip A. and Lynn G. Straus
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012


Preparada em conjunto com o Centro Pompidou Musée National d'Art Moderne, em Paris, a exposição na Schirn oferece uma visão nova de seu trabalho


Prepared together with the Centre Pompidou Musée National d’Art Moderne in Paris, the exhibition in the SCHIRN offers a novel view of his work.
 

Edvard Munch
Two Human Beings. The Lonely Ones, 1933-1935 oil on canvas 90,5 x 130cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Vampire, 1893 oil on canvas 77 x 98 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012


Suas obras revelam até que ponto ele adotou formas especificamente fotográfica ou fílmica de composição e narração, poses, ou até mesmo efeitos em sua pintura.

His works reveal to what degree he adopted specifically photographic or filmic forms of composition and narration, poses, or even effects in his painting





Edvard Munch
Vampire in the Forest, 1916-1918 oil on canvas 158 x 145,5 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012


Completando a apresentação de cerca de sessenta pinturas e vinte obras sobre papel, um capítulo da série é dedicada a Munch próprias tentativas no campo da fotografia e do cinema.

Supplementing the presentation of about sixty paintings and twenty works on paper, one chapter of the show is dedicated to Munch’s own attempts in the field of photography and film.

Edvard Munch
New Snow in the Avenue, 1906 oil on canvas 80 x 100 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012

Uma outra dimensão da exposição revela como o artista tratou o mesmo assunto em desenho, pintura, fotografia, artes gráficas e escultura.

A further dimension of the exhibition reveals how the artist dealt with one and the same subject in drawing, photography, painting, graphic art, and sculpture.

Edvard Munch
Starry Night, 1922-1924 oil on canvas 120,5 x 100 cm © The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012




Retorno freqüente do artista a motivos já feitos fornece uma chave fundamental para a compreensão do trabalho de Munch.

The artist’s frequent return to already rendered motifs provides a crucial key to the understanding of Munch’s work.





Edvard Munch
Weeping Woman, 1906 bronze 38,2 x 27,5 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Rosa Meissner in her hotel room at Hotel Rhône in Warnemunde, 1907 silver printing out on paper Agfa Lupex 8,7 x 7,3 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012







Edvard Munch
Weeping Woman, 1907 oil on canvas 121 x 119 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012





Edvard Munch
Weeping Nude, 1930 charcoal on paper 58 x 39,5 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Self-Portrait Somewhere on the Continent II, ca. 1906 gelatin printing out 8,3 x 8,7 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012





Edvard Munch
Self-Portrait "A la Marat", 1909-1909 gelatin printing out on paper 8,1 x 9,3 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Self-Portrait in front of "Death of Marat", 1930 silver gelatin developing out paper 8,3 x 11,3 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012





Edvard Munch
Self-Portrait with Hat (Right Profile) at Ekely, 1930 11,7 x 7,9 mm silver gelatin developing out paper
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012







Edvard Munch
Self-Portrait in front of Two Watercolours II, Ekely, 1930 silver gelatin developing out paper 11,2 x 8,8 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Self-Portrait at 53 Am Strom in Warnemünde, 1907 gelatin printing out 9 x 9,4 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Self-Portrait in Bergen, 1916 oil on canvas 89,6 x 60 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Self-Portrait. Between the Clock and the Bed, 1940-1943 oil on canvas 149,5 x 120,5 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Galopping Horse, 1910-1912 oil on canvas 148 x 120 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Workers in Snow, 1910 oil on canvas 224 x 162 cm private collection, on deposit to the National Museum of Western Art, Tokyo
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Jealousy, 1907 oil on canvas 89 x 82,5 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012





Edvard Munch
Death Struggle, 1915 oil on canvas 140 x 182 cm
The National Gallery of Denmark, Copenhagen, © SMK Photo
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Te Sun, 1910-1913 162 x 205 cm oil on canvas
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012







Edvard Munch
The Artist's Retina. Optical Illusion from the Eye Disease, 1930  watercolour and pencil on paper 49,7 x 47,1 cm
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012






Edvard Munch
Film, 1927 shot with a Pathé Baby camera in Dresden, Oslo, Aker black-white, 9,5 mm, silent, 5’17
© The Munch Museum / The Munch Ellingsen Group / VG Bild-Kunst, Bonn 2012







Edvard Munch. The Modern Eye Catalogue
Edvard Munch. Der moderne Blick (The Modern Eye)
Edited by Angela Lampe, Clément Chéroux, and Max Hollein.
With a preface by Max Hollein and texts by Magne Bruteig, Clément Chéroux, Arne Eggum, Mai Britt Guleng, Lasse Jacobsen, Angela Lampe, Philippe Lanthony, Pascal Rousseau, Iris Müller-Westermann, Sivert Thue, Gerd Woll, and Ingebjørg Ydstie.
German edition, 320 pages, ca. 300 illustrations.
Hatje Cantz Verlag, Ostfildern 2012, ISBN 978-3-7757-3282-6, 34,80 € (Schirn), 39,80 € (book trade).



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