|aPaula Modersohn-Becker :|bIch bin ich = I am me /|cedited by Jay A. Clarke and Jill Lloyd ; with preface by Ronald S. Lauder ; foreword by Renée Price and James Rondeau ; and essays by Jay A. Clarke and Jill Lloyd ; with contibutions by Rebecca Duckwitz, Felipe Villada Ruiz, and Wolfgang Werner.
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|aPaula Modersohn-Becker :|bI am me
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|aIch bin ich
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|aI am me
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|aMunich :|bPrestel,|cc2024.
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|a205 p. :|bill. (some col.), ports. (some col.) ;|c29 cm.
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|aCatalog of an exhibition held at the Neue Galerie New York, June 6-September 9, 2024 ; and at the Art Institute of Chicago, October 10, 2024-January 13, 2025.
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|aIncludes bibliographical references (p. 193-194) and index.
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|tPreface /|rRonald S. Lauder --|tForeword /|rRenee Price and James Rondeau --|gAcknowledgments --|tPaula Modersohn-Becker: becoming me /|rJill Lloyd --|tWriting "In Runic Script": Paula Modersohn-Becker's Worpswede drawings /|rJay A. Clarke --|gPlates ;|tDrawings and prints ;|tLandscapes ;|tChildren ;|tPortraits ;|tSelf-Portraits ;|tStill-lifes ;|tNudes --|tChecklist /|rFelipe Villada Ruiz --|tBiogrpahy /|rWolfgang Werner and Rebecca Duckwitz --|gSelected biography
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|aPaula Modersohn-Becker (1876-1907) is a major figure in the history of German Expressionism, yet despite her importance to art history, Modersohn-Becker's work has never before been the subject of a museum retrospective in the United States. In the course of her brief career - which was cut short at the young age of 31 because of a postpartum embolism - Modersohn-Becker produced more than 700 paintings and over 1,000 drawings. She is acclaimed for the many self-portraits she created, including the first nude self-portraits known to have been made by a woman. Many of these works focused on her pregnancy, another first among Western women artists. The artist first became known in part through her letters and diaries, including correspondence with her close friend, the German poet Rainer Maria Rilke. In 1906 Modersohn-Becker wrote the following to Rilke: "And now I don't know how to sign my name. I am not Modersohn and I am not Paula Becker anymore, I am Me, and hope to become that more and more." (Und nun weiss ich gar nicht, wie ich mich unterschreiben soll. Ich bin nicht Modersohn und ich bin auch nicht mehr Paula Becker, Ich bin Ich, und hoffe es immer mehr zu werden.)" This landmark statement of self-determination-Ich bin Ich (I am Me)-provides the sub-title for this exhibition, and a window into the artist's formidable sense of identity. -- host institution's website, viewed May 29, 2024.
This exhibition catalog considers the work of a pioneering artist who subverted conventions in her bold depictions of the nude, self-portraits, and still-lifes. An iconoclast in her own time, Modersohn-Becker is today considered an icon of modernity.Throughout her career, Paula Modersohn-Becker boldly experimented with styles while steadfastly pursuing the truth of everyday life and her own female experience. This monograph looks at the entire spectrum of her work--figure drawings, still-lifes, self-portraiture, landscape, nudes, and portraits of young girls and old women--to illustrate the evolution of an artist reacting to seismic cultural change at the turn of the nineteenth century. Whether she was embracing or subverting the principles of realism, naturalism, impressionism, symbolism, or expressionism, Modersohn-Becker remained interested in issues of identity, peeling away outer layers to uncover what she understood as the true essence of life. This book features numerous examples of Modersohn-Becker’s striking and relatively unknown drawings of men, women, and childrenfacing poverty, as well as her highly original figure paintings and nudes--including her unprecedented nude self-portraits. Accompanying the first museum exhibition of Modersohn-Becker’s work in the United States, it reveals the deeply personal and authentic work of an artist who resolutely forged her own path.