Gib mir Asyl im Paradies – Gemälde von Susanne Haun

Diese Farben finde ich sehr ansprechend.

Susanne Haun

Atelieransicht, Herbst, Asyl im Paradies, Gemälde von Susanne Haun (c) VG Bild-Kunst, Bonn 2020Atelieransicht, Herbst, Asyl im Paradies, Gemälde von Susanne Haun (c) VG Bild-Kunst, Bonn 2020

Dieses Gemälde von Susanne Haun ist sehr persönlich. Während die Künstlerin das Bild malte, hörte sie die Musik von der Band Silly speziel das Lied “Asyl im Paradies”. Die Sängerin Tamara Danz wusste zu der Zeit als sie das Lied sang schon, dass ihr Tod nahte. Den Text hörend weinte die Künstlerin beim Erstellen des Bildes. Die Tränen übertrugen sich sinnbildlich in die auf dem Bild laufende sepiafarbende Tusche.

steht es in der Objektbeschreibung der Pariser Galerie Singulart (-> Klick)

Noch heute kann ich das Lied von Tamara Danz nicht hören, ohne zu weinen und zu trauern. Hier könnt ihr das Lied auf youtube hören (-> klick)

Vor kurzem habe ich in der Augsburger Allgemeine Zeitung einen Artikel über die Performance Künstlerin Marina Abramovic gelesen.

Abramovics hat ihr Begräbnis schon…

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Songs of the Liberation for VE Day

Brilliant material, fascinating.

The Chadwyck-Healey Liberation Collection (1944-46) consists mainly of books, but also contains a number of French and English songs and music scores, some with striking illustrations. They appear either in individual leaflets or in larger compilations, including the lyrics and in some cases notated music. On the 70th anniversary of VE Day (Victory in Europe), on 8 May 1945, we would like to shed light on two illustrated covers for songs of the Liberation that we displayed on the occasion of the 2019 Liberation lecture (Normandy ’44 by James Holland).

1PR-LIBERATION-A-00104Le chant de la libération : le chant des partisans, paroles de Maurice Druon et Joseph Kessel, musique de Anna Marly. Paris : Éditions Raoul Breton, 1945. Liberation.a.104

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Das Pferd mit Pferd im Pferd – Collage von Susanne Haun, besprochen von Nina Alice Schuchardt

Looks very interesting-Prima!!

Susanne Haun

Stark fürs Buch, Eichhörnchenverlag, Susanne Haun auf Instagram

Inzwischen ist es schon drei Jahre her, dass ich die Collagen für das Buch Landtiere im Eichhörnchenverlag zeichnete.

Zwei der Collagen arbeitete ich mit einem Foto von Ninas Pferd.

Beide Collagen von Ninas Pferd sind heute im Buch Landtiere zu finden. Das Buch Landtiere entstand unter dem Aspekt, den kleinsten Kindern die Tierwelt künsterlisch näher zu bringen. Drei Jahre später kann ich sagen, dass viele meiner “großen” Fans das Buch für sich gekauft haben.

Bevor ich näher auf das Pappbilderbuch eingehe, möchte ich euch empfehlen, den Film “Kunst, die glücklich macht: Das Pferd mit Pferd im Pferd” anzusehen.

Auf der Verlagsseite des Eichhörnchenverlags stehen folgende Erläuterungen zum Buch:

Das Bilderbuch LANDTIERE hat sich eines Klassikers unter den Bilderbuchthemen angenommen.

Die bewusst nicht retuschierten Fotografien in Verbindung mit leuchtenden Tuschezeichnungen vermitteln die natürliche Schönheit der Tiere und ihrer Umgebung.

Mit seinen starken Farben und klaren Formen richtet sich das Bilderbuch an…

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Drawings of the Franco-German war of 1870-71: a new acquisition at Cambridge University Library

A fascinating collection!!

Last year Cambridge University Special Collections acquired, with the help of the Friends of the Library, a notebook of 47 drawings, probably produced by an unidentified soldier towards the end of the 19th century (ms Additional 10300). This acquisition adds to the library’s holdings of primary material relating to the Franco-Prussian War of 1870-1871, which ranges from bound volumes of contemporary caricatures (KF.3.9-14, see the earlier blogpost) to directories of caricaturists and their work (such as Berleux’s La caricature politique en France pendant la guerre, le siège de Paris et la Commune, 1870-1871, Lib.5.89.27 and Gallica) and facsimiles of posters produced during the Paris Commune (See Les murailles politiques francaises and Les affiches de la Commune). The interest of the notebook does not lie in the artistic talent of its creator, but rather in the examination of his visual culture, through the identification of…

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Painting the nightmare of Auschwitz : the February 2020 Slavonic item of the month

This year will see many 75th anniversaries relating to the Second World War, and one of the most poignant – the liberation of Auschwitz by the Soviets – has already occurred, in late January.  We recently received an important addition to Cambridge’s significant holdings about the Holocaust and Auschwitz in particular, in the form of a catalogue of works by David Olere, Ten, który ocalał z Krematorium III (The one who survived Crematorium III), based on an exhibition held at the Auschwitz-Birkenau State Museum in 2018-2019.

Olere, a French Jew sent to Auschwitz in 1943, was one of the very few Sonderkommandos to survive the war.  His artistic abilities, employed by Nazi personnel to illustrate letters home and produce other artwork, saved him from the regular killing of Sonderkommando generations.  Olere was in the death march from Auschwitz in January 1945 and was liberated only in May, in Ebensee.  He…

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Covers from the Liberation Collection

These look great- most interesting.

The Liberation Collection consists of over 3000 books published in French between 1944 and 1946. They all share a common subject – the Second World War – and reflect the interest of the collector for book history (quality paper, limited editions, signed copies, etc.); this aside, they differ widely from each other in the way they treat the subject, what they talk about (or don’t talk about), their format, pictorial content, audience, tone and genre. One way to give an insight into the variety of the collection is through its most striking book covers, most of them having been photographed for our thumbnail project. Here is a random sample taken from books catalogued in 2019:


Fiction represents nearly one sixth of the collection. Below are a spy novel, an adventure tale about the life of a fighter pilot and a theatre play about the army draft in France.

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The Résistante and the Collaborationist: an odd connection in the Liberation Collection

An interesting collection indeed.

Riffaud and Liquois, two destinies with seemingly nothing in common, apart from the War and a little booklet from Jeunesse Héroïque (Portrait of Riffaud by Picasso from “Le poing fermé”, Liquois image from under Creative Commons)

As discussed in an earlier blogpost, showcasing the beautiful and entertaining Belgian children’s collection Les Alliés, a surprisingly large proportion of the Liberation Collection is made up of thin pamphlets aimed at young people. They were published in the immediate aftermath of the Second World War in France and Belgium.

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German Expressionism: taking inspiration from Leicester

Fascinating stuff! There always seems more to discover on this topic including Polish and Scandinavian artists drawn into the ambit of German art in this fertile period.

Expressionism in Germany is particularly associated with two major groups which emerged before World War One: Der Blaue Reiter in Munich and Die Brücke in Dresden, artistic communities which reacted against the bourgeois culture and wanted to change art and society. For those interested in seeing German Expressionist works now, obvious destinations are the Lenbachhaus in Munich or the Brücke Museum in Berlin. But closer to home, Leicester has a large collection of German Expressionist works which grew out of an exhibition of “Mid-European art” held there in February 1944. The exhibition was instigated by the then director of Leicester museums, Trevor Thomas (his is a fascinating life story – dismissed from his role in Leicester after the war following a court appearance for public indecency at a time when homosexuality was illegal, the last person to see Sylvia Plath alive…) and featured works belonging to a German emigré collector…

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The Blue, by Nancy Bilyeau

ANZ LitLovers LitBlog

I enjoyed this historical novel, recommended to me by Emma from Words and Peace when she came across my review of Robyn Cadwallader’s Book of Colours which features a 14th century family of limners who create exquisite illuminated bibles and devotional prayer books. The Blue is likewise an historical novel about art, but it’s about 18th century porcelain, and the quest to create the colour blue.

The story features a lively young woman called Genevieve Planché, born in London after her parents fled the persecution of the Protestant Huguenots in Catholic France. Like many a contemporary heroine in commercial historical novels she is feisty, fearless and ambitious, and she accomplishes remarkable feats despite the constraints of her era.  There have, of course, always been remarkable women, but still, the reader must often suspend disbelief, especially towards the end of the story when Genevieve is impudent towards people who might easily…

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