【中商原版】Alfred Kubin: The Aesthetic of Evil 进口艺术 阿尔弗雷德·库宾:邪恶的美学 Hatje Cantz Verlag
| 运费: | ¥ 6.50-50.00 |
| 库存: | 1 件 |
商品详情
Alfred Kubin: The Aesthetic of Evil
阿尔弗雷德·库宾:邪恶的美学

✦产品信息——
出版社 : Hatje Cantz (2024年 11月 12日)
语言 : 英语
精装 : 224页
ISBN-10 : 3775757732
ISBN-13 : 978-3775757737
商品重量 : 1 Kilograms
尺寸 : 24.77 x 24.77 cm
页面参数仅供参考,具体以实物为准
✦内容简介——
库宾的诡异、令人不安的插图揭示了他对世界邪恶的关注
对于奥地利艺术家阿尔弗雷德·库宾 (Alfred Kubin,1877-1959) 来说,邪恶是他生活和工作中不可或缺的一部分。在经历了在泽尔湖长大的痛苦童年和随后的精神危机之后,他于 1898 年开始在慕尼黑接受艺术培训。他用大量奇幻的画作来表达自己的噩梦和痴迷。他画的主题永远是悲观的,一个世纪后仍然具有现实意义:战争、饥荒、瘟疫、死亡以及介于两者之间的所有恐怖。库宾对女性、性欲、夜晚以及被命运摆布有着强烈的恐惧,所有这些都出现在他离奇的梦境中。对于库宾来说,邪恶的美学被证明是田园诗的对立面:故意压制丑陋的现实。
《邪恶的美学》选自阿尔贝蒂娜博物馆收藏的 1800 多幅艺术家画作,展示了库宾怪诞的视野以及他高超的绘图技巧。在他的绘画作品充满暴力和恐怖的氛围中,很容易看出库宾是如何陷入黑暗幻想的,以至于无穷无尽、无形的邪恶幽灵吞噬了他的生活。伊丽莎白·杜茨、娜塔莉·莱特纳和布里吉特·霍尔辛格的论文探索了库宾的邪恶世界:他的个人邪恶形象是由他的噩梦和痴迷所驱动的。
Kubin’s eerie, unsettling illustrations reveal his preoccupation with the world’s evils
For Austrian artist Alfred Kubin (1877–1959), evil was intrinsic to his life and work. After a traumatic childhood growing up in Zell am See and subsequent mental crises, he began his artistic training in Munich in 1898. He processed his nightmares and obsessions in a large number of fantastical drawings. His subjects, perpetually pessimistic, remain relevant a century later: war, famine, pestilence, death and every horror in between. Kubin had a pronounced fear of the feminine, sexuality, night time and of being at the mercy of fate, all of which visited him in uncanny dreams. For Kubin, the aesthetic of evil proved to be the antithesis of the idyll: the deliberate suppression of a hideous reality.
Drawn from the Albertina Museum’s collection of over 1,800 drawings by the artist, The Aesthetic of Evil displays Kubin’s grotesque vision as well as his superb draftsmanship. Amid the violent, haunting atmosphere of his graphic works it is easy to see how Kubin became trapped in his dark visions, to the point where the inexhaustible, intangible specter of evil consumed his life. Essays by Elisabeth Dutz, Natalie Lettner and Brigitte Holzinger explore Kubin’s cosmos of the sinister: his personal iconography of evil fueled by his nightmares and obsessions.








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