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August Macke Paperback – 1993

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Product Details

  • Paperback: 95 pages
  • Publisher: Taschen America Llc (1993)
  • Language: English, Spanish
  • ISBN-10: 3822806714
  • ISBN-13: 978-3822806715
  • Product Dimensions: 0.5 x 8.8 x 11.5 inches
  • Shipping Weight: 15.2 ounces
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #3,759,037 in Books (See Top 100 in Books)

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Format: Paperback
Auguste Macke was only 27 when he died in action in the first month of World War One, and is usually classed as an Expressionist because these are the type of paintings he was producing in the last months of his life. But as Anna Meseure's study demonstrates, Macke went through more and quicker changes of style than Picasso, moving every few months from Symbolism to Impressionism to Post-Impressionism to Fauvism to Cubism to the Blaue Reiter Group to Futurism to Orphism to Expressionism. In this intense metamorphosing over about six years, Macke is an index to the extraordinary modernist activity that exploded in the decade prior to World War 1. but whereas Picasso's need for change was driven by intense personal need, it is difficult to overcome the suspicion of dilettantism in Macke's work, this amiable son of the bourgeoisie; a painter who never faced the economic anguish of many artists, thanks to the generosity of his industrialist uncle-in-law; a man happiest in family life and provincial towns: a kind of gentleman amateur, someone blissfully unaware of a world hurtling towards an apocalyptic war. Even an epochal trip to Tunisia with Paul Klee, which resulted in his most celebrated work, only lasted a fortnight. Meseure encourages this conception by emphasising how Macke's encounters with radical cultural currents were always transformed by him in a reactionary way - so his urban scenes inspired by the visual fractures of Futurism become passive and contemplative, leaked of tension. although he contibuted to the first Blaue Reiter exhibition and its 'Almanac', he fundamentally disagreed with its figurehead Kandinsky.
There is some continuity in all this stylistic leap-frogging - the subject matter of the Impressionists (streets, cafes, parks etc.
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