Paula Modersohn-Becker (German Edition)


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Modersohn-Becker, Paula (1876–1907)

In marked contrast is ''Look Up and Live,'' another big work of relative serenity. From two multicolor arches, one above the other, rough cone shapes of luminous hues hang down against a sky-blue field. Between the arches, hovers a big red blob.


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It works - as a strange and lovely reprise of a Rococo ceiling decoration. Among smaller paintings, the poet Wallace Stevens is honored by a canvas of sharp, rough textures in which a cloud of intense white vaporizes onto a steel-gray field. Helped by his skill as a colorist, Mr. Hennessy can do almost anything on canvas with paint - and quite often get away with it. Through Dec. Jake Berthot David McKee Gallery, 41 East 57th Street : The richly painted surfaces of the canvases of Jake Berthot evoke the patina of ancient objects - Chinese pottery, Renaissance bronzes, Etruscan jewelry, old-master paintings and their frames.

PAULA Trailer German Deutsch (2016) Paula Modersohn-Becker Biopic

So skillfully does he work the paint that his subtly nuanced tones seem not so much laid down on as coaxed from the canvas itself. Characteristically, a lightly outlined oblong box or an oval appears - sometimes ever so faintly - at the center of each painting, in which color ''incidents'' occur. In the heavily outlined box of ''Hard Line,'' for instance, which partakes of the same deep bronzy glow as the rest of the painting, there is unexpectedly born a fiery flame of red.

A group of 16 small black-and-white etchings suggests the pages of a very private diary, with indecipherable writing and obscure doodles that play on the notion of old artists' notebooks and incunabula.

The past tugs hard in this work, which keeps a cool distance from the current scene. Michael Mazur Barbara Mathes Gallery, Madison Avenue, at 71st Street : Commissioned to do a mural for the big, curving wall of a dormitory living room at the Massachusetts Institute of Technology, Michael Mazur chose the tricky medium of monotype. The process involves painting on a metal plate, then transferring the image by pressure to a sheet of paper, producing a one-of- a-kind print.

TOKYO (5 a.m.)

A wide variety of effects, textural and otherwise, is attainable, depending on the skill and imagination of the artist. The scale of this project demanded plates six feet long, possibly the largest yet made for monotype, and the studies shown here for the now-completed mural - in two triptych panels - give ample evidence of Mr. Mazur's poetic gift for the medium. He picked as his subject two views - day and night - of Wakeby Lake, an island-rich body of water on Cape Cod, where he has a summer home. First, the editors avoided the retrospectively sentimental selectivity of the original.

This time with her little boy at her breast.

Modersohn-Becker, Paula (–) | proticlati.tk

I had to draw her as a mother, had to. That is her single true purpose. Marvellous, these gleaming white breasts in her fiery red blouse.


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  5. The whole thing is so grand in its shape and colour. Clara Rilke-Westhoff recalls how one day Paula led her to the art dealer Vollard. They were pictures by Cezanne which we saw there for the first time. We did not even know his name. Here, Paula is half naked, with a white cloth around her hips and the long amber necklace she wears in other self-portraits. The background pattern is light and almost matches the light pale colour of her skin, except for her hands and face which are of a darker hue, similar to the way she depicted young farmers.

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    As she was born on February 8, and as Mathilde was born on November 2, , she was still not pregnant on the date of her thirtieth birthday. Yet, the painting definitely plays with the suggestion of four-five months pregnancy, the hands folded to protect the growing belly. Paula Modersoh-Becker, Selbstbildnis am 6. Paula was a healthy, albeit melancholic child, who grew up into a beautiful young lady. When she became pregnant, she had no "risk factor. The delivery was described as long and with some worries, as the doctor was unable to detect the child's heartbeat at one point and feared the child would be born dead.


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    Yet Mathilde was born as a healthy child and the mother was soon well enough to receive visits from her mother and friends, including Rilke and his wife [ 13 ]. Nevertheless, she was kept in bed for eighteen days before being allowed to arise and move. Before getting out of bed, she combed her hair to signify that she was returning to life, to the life of a young woman who wanted to be pretty.

    She put the roses in her hair, as many times in the past she had painted children or young women with flowers in their hair [ 14 ]. A hundred years later, as physicians, we may wonder if her death was avoidable, and as art lovers we may wonder if she would have become a full-time mother, leaving aside the dream of painting, or, as her strong-minded letters and diaries suggest, if she would have made a substantial contribution to the history of art in the twentieth century.

    These questions are important to the understanding of both Paula's life and the dangers of conventional wisdom.

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    At the time of Paula's death, the habit of putting women to complete bed rest was very well established, and difficult to change. The practice at that time allowed sitting up in bed for no more than an hour in the first days; lying in bed for at least ten days was considered "a time honoured practice" in the early s [ 2 , 3 ], despite the risks to the mother's health.

    Likewise, the passage from the squatting position for delivery, still used in several aboriginal societies, to the so called gynaecological one, probably has complex sociological origins [ 15 ]. Moreover, the imposition of breast-feeding the baby at fixed times, devoid of physiological advantages, probably originates from the organizational needs of the first large factories, where women, in the absence of labour laws, needed to follow strict working schedules. And what is there to say about the baby face-up "revolution", which has completely changed the way of putting children to sleep in order to avoid suffocation and sudden infant death syndrome, after generations of nurses, nannies, mothers and grandmothers had put babies to sleep on their bellies?

    While probably in no field more than in obstetrics are myths and facts entangled, the history of medicine is full of such examples. While we praise the few courageous individuals, such as Dr. GB conceived and developed the paper topic, and wrote the first draft.

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    SK contributed biographical and art historical material, and edited the manuscript.

    Paula Modersohn-Becker (German Edition) Paula Modersohn-Becker (German Edition)
    Paula Modersohn-Becker (German Edition) Paula Modersohn-Becker (German Edition)
    Paula Modersohn-Becker (German Edition) Paula Modersohn-Becker (German Edition)
    Paula Modersohn-Becker (German Edition) Paula Modersohn-Becker (German Edition)
    Paula Modersohn-Becker (German Edition) Paula Modersohn-Becker (German Edition)
    Paula Modersohn-Becker (German Edition) Paula Modersohn-Becker (German Edition)
    Paula Modersohn-Becker (German Edition) Paula Modersohn-Becker (German Edition)

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