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Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title
Maria Lassnig: The Pen is the Sister of the Brush Default Title

Maria Lassnig: The Pen is the Sister of the Brush

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Maria Lassnig: The Pen is the Sister of the Brush

The Pen is the Sister of the Brush' brings together journal entries, notes, poems, letters, photographs and drawings by Austrian artist Maria Lassnig, dating from 1943 – 1997. Edited by Hans Ulrich Obrist, the writings collected in this volume reveal the renowned artist as a human being: from recollections of childhood and the reflections on growing older to musings on stillness and solitude and the intense experiences of nature that informed her powerful work.

Language

English

Publisher

Hauser & Wirth Publishers / Steidl

Composition

Hardcover with dustjacket

Contributors

Hans Ulrich Obrist (ed.), Maria Lassnig

Pages

200 pages

Size

17.8 x 23.4 cm

ISBN

9783865217394

Publication Date

Dec-09

The Artist

MARIA LASSNIG

Born in Carinthia in Southern Austria in 1919, Maria Lassnig’s (1919 – 2014) work is based on the observation of the physical presence of the body and what she termed ‘body awareness’, or ‘Körpergefühl’ in German. She studied at the Academy of Fine Arts in Vienna in the midst of the Second World War. Then, in post-war Europe, she quickly moved away from the state-approved academic realism in which she was trained, looking to Austria’s own avant-garde past, such as the coloration of Oskar Kokoschka and Egon Schiele’s expressionist treatment of figuration.

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