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Natter T. G., Egon Schiele. The Paintings � 2022 (40 Years of Taschen)

After Egon Schiele (1890-1918) freed himself from the shadow of his mentor and role model Gustav Klimt, he had justten years to inscribe his signature style into the allals of modernity before the Spanish flu claimed his life. Being a child prodigy quite aware of his own genius and a passionate provocateur, this didn�t prove to be too big a challenge. His haggart, overstretched figures, extreme depiction of sexuality and self-prttrais, in which he staged himself with emaciated facial expression bordering between brilliance and madness, had none of the decorative quality of Klimt s hymns of love, sexuality, and yearning devotion. Instead, Schiele s work spoke of a brutel honesty, one that would upset and irreversibly change Viennesse society. Although his works were later defamed as "degenerate" and for a time were almost forgotten altogether, they influenced generations of artists - from Gunter Brus, and Francis Bacon to Tracey Emin. Today, his then misunderstood oeuvre continues to fetch exorbitant prices on the international art market. This monograph features the paintings and drawings that retrace the fertile last decade of Schiele s life. These works are accompanied by essays introduciing his life and oeuvre, situating the Austrian master in the context of European Expressionism and charting his extraordinary legacy

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Renner R. G., Edward Hopper. 1882-1967. Transformation of the Real � 2014

Edward Hopper (1882-1967) is considered the first significant American painter in 20th-century art. After decades of patient work, Hopper enjoyed a success and popularity that since the 1950s has continually grown. In canvas after canvas he painted the loneliness of big-city people. Many of Hopper's pictures represent views of streets and roads, rooftops, and abandoned houses, depicted in a brilliant light that strangely belies the melancholy mood of the scenes. Hopper's paintings are marked by striking juxtapositions of colour, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. On the other hand, Hopper's renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character

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