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This extraordinary artist's document from around 1804 offers an immediate insight into the crucial phase of Friedrich's artistic development. During his walks through Dresden and the surrounding landscape, he captured impressions of nature, motifs, and atmospheric studies – sketches that later formed the basis of iconic paintings.
The 33 surviving drawings provide unique access to Friedrich's way of seeing, thinking, and artistic process. The high-quality deluxe edition makes this rare sketchbook accessible in a particularly true-to-original form:
- Complete, true-to-original facsimile reproduction of all 33 drawings
- Historical original format with characteristic rounded corners
- Companion booklet with a well-founded art-historical introduction
- Presentation of the sketchbook and companion booklet in a high-quality box
Design, material, and craftsmanship are consistently geared towards the greatest possible proximity to the historical original. The edition not only conveys motifs but also makes Friedrich's artistic thought and working process tangible.
This preferential edition is aimed at art lovers, collectors, libraries, and institutions who wish to own a central document of Romanticism in bibliophile quality.
Caspar David Friedrich (1774–1840) was born in Greifswald, studied at the Art Academy in Copenhagen, and settled in Dresden from 1798. His landscape compositions testify to great introspection and melancholy. Friedrich demanded a new visual awareness from viewers; at the same time, his works elude clear interpretation, always offering new avenues for understanding.
Anna-Eva Bergman (1909–1987) was a Scandinavian artist known for her landscape-inspired abstractions and the use of gold leaf in her art. Her works often recall rocks, trees, or other natural forms she encountered on her extensive travels. Bergman also worked as a photographer, printmaker, and architect.
Hans Hartung (1904–1989) was one of the most important representatives of abstract painting in Germany. His gestural style contributed to the rise of Art Informel in Europe. At the 1960 Venice Biennale, he was awarded the Grand International Prize for Painting. His works are held in important international collections.
This publication draws from the estate of her long-overlooked oeuvre, which includes not only woven pieces but also previously unknown drawings. Both groups of works demonstrate how much Sofie Dawo understood her weaving as an autonomous genre.
SOFIE DAWO (1926–2010) was a visual artist and art educator. After studying textile design at the State School for Art and Crafts in Saarbrücken, she initially designed works for industry before teaching weaving and fabric printing, and from the early 1970s onwards, also design.
Drawing on draftsmanship, painting, literature, and installations, Michael Tedja's oeuvre erupts into a flamboyant and visually playful whole. His boisterous storms of imagery recall the CoBrA movement of artists from Copenhagen, Brussels and Amsterdam briefly banded together after World War II. Aiming to banish bourgeois rituals as well as theorizing around avant-garde art, they embraced expressionist spontaneity, an unrestrained use of vivid colors, folkloric elements, handwriting and graffiti.
But Michael Tedja has taken out the folkloric and anti-intellectual, his painting is a kind of IQ test. With abstract and figurative visual vocabulary complementing each other, Tedja’s imagery is expressive and linguistic, full of references and autobiographical elements. This monograph encompasses large-scale paintings, his overwhelming installation of large drawings Hypersubjective, as well as The Color Guide Series. Here, Tedja deploys textured paint, crayon and chalk on commercial paper stock—the color bars printed along the paper’s edge are left exposed—turning mass-produced standard into something decidedly unique. Yet by constantly recycling and repurposing images, Tedja explores the alterability of meaning within the visual context of globalization.
MICHAEL TEDJA (*1971, Rotterdam) is a leading Dutch contemporary artist. He studied at the Gerrit Rietveld Academy and the Sandberg Institute in Amsterdam, where he also lives today. He had solo exhibitions at the Cobra Museum for Modern Art, Centraal Museum Utrecht, Locust Projects in Miami, the Stedelijk Museum Bureau Amsterdam, as well as numerous international group exhibitions.
Daniel Rode works with text fragments found in literature, conversations, and public space, deliberately disregarding syntax such as spaces and line breaks. Interrupting our reading habits, they retain their indeterminacy a little longer before these fragments can be decoded by reading. Detached from their original contexts, they find their way into both large-scale installations and drawings, often created in series. Rode moves between two polar opposites—a sober, reserved aesthetic on the one hand, and a sensitive, almost tender devotion to artistic execution on the other. Again and Again offers a comprehensive insight into Rode’s oeuvre, enriched by perceptive texts by 13 contributors providing an often surprisingly personal perspective on the artist and his work.
DANIEL RODE (*1971, Eutin) studied in Greifswald and the Academy of Fine Arts Dresden in the class of Monika Brandmeier. He lived in Cairo from 2009 to 2014. Projects and residencies have taken him to Canada, the USA, Bahrain, Vietnam and many countries in Europe. Today, he lives in Dresden and Berlin.
The long-awaited, three-volume catalogue raisonné of works on paper by E. W. Nay (1902–1968) offers a definitive overview of this German painter’s oeuvre that will appeal to art historians, art dealers, and art lovers alike. Comprehensive and indepth, the publication brings new insights and understandings to the work of this important figure in twentieth-century abstraction. With more than six thousand watercolors, gouaches, and drawings, Nay’s works on paper far outnumber his oil paintings. He was a restless creator who consistently put his ideas about form and color onto paper. These works embody a kind of working “journal” that reveals surprising aspects of his artistic method. Documenting the processes behind his artistic activities and research, Nay’s works on paper are also autonomous creations that impressively chronicle the artist’s development and vision.
This catalogue presents the first comprehensive study of the Italian architectural drawings in the Cronstedt Collection in the Nationalmuseum Stockholm, discussing 181 drawings dating from around 1570 to around 1620. Among them are works by Francesco da Volterra, Carlo Maderno and other Roman architects, executed for churches, chapels, palaces, gardens, and fountains—many constituting primary and almost unknown sources for late Mannerist and early Baroque architecture. Also included are plans and architectural details by French draughtsmen, meticulously documenting ancient monuments, as well as buildings by the Renaissance masters Bramante, Antonio da Sangallo, Michelangelo, and Vignola.
Italian Architectural Drawings proposes new attributions in the light of recent scholarship, based on close examination of the drawings’ material (paper, medium, technique, mounting). Comparative illustrations and a photographic catalogue of the watermarks complete the volume.
The NATIONALMUSEUM STOCKHOLM is Sweden’s largest art museum and contains some 700,000 works of art. The collection focuses on painting, sculpture, works on paper, and design objects from the sixteenth century to the present.
The catalog has all the pictures and sculptures as well as a number of works on paper, drawings and photographs, which Gerhard Richter also assigned a number of work. Of the Catalog Raisonné Starts with the painting table from 1962 and ends with the designs for the glass windows of the abbey in Tholey, to which the artist assigned the number of work 957. The six -volume catalog has a total of 4,118 works on a total of 3,536 pages. Each volume is initiated by a text contribution. All works are reproduced in color and contain all technical information as well as detailed information on owners, exhibitions, literature, occasional quotes of the artist on individual works and comments.
The research for the list of works by Dietmar Elger, head of Gerhard Richter Archive since its foundation in 2006, began in 2002 and was brought into the archive as a research project.
The set includes the following volumes
Gerhard Richter Catalogue Raisonné: Volume 6
Nos. 900-957 2007-2019
2022 | ISBN 978-3-7757-3714-2
Gerhard Richter Catalogue Raisonné. Volume 5
NOS.806-899-8 1994-2006
2020 | ISBN 978-3-7757-3230-7
Gerhard Richtercatalogue Raisonné. Volume 4
Nos. 652-1-805-61988-1994
2015 | ISBN 978-3-7757-1981-0
Gerhard Richter Catalogue Raisonné. Volume 3
Nos. 389-651-21976-1987
2013 | ISBN 978-3-7757-1980-3
Gerhard Richtercatalogue Raisonné. Volume 2
Nos. 199-3881968-1976
2017 | ISBN 978-3-7757-1979-7
Gerhard Richter Catalogue Raisonné. Volume 1
Nos. 1-198 1962-1968
2011 | ISBN 978-3-7757-1978-0
Gerhard Richter (*1932) is one of the most influential contemporary artists. Richter studied from 1961 to 1964 at the State Art Academy Düsseldorf, where he later taught as a professor. Judge lives and works in Cologne.
Dietmar Elger (*1958) studied at the University of Hamburg and has headed the Gerhard Richter Archive at the Dresden State Art Collections since 2006