Concepts of Modern ArtNikos Stangos Harper & Row, 1981 - 384 pagina's No other book on modern and contemporary art presents in as authoritative and concise a manner the ideas that underlie the diverse and radical developments of the last hundred years. In this new edition, an important essay, "Postmodernism and the Art of Identity", not only brings the story of modern art right up to the present, but also introduces the unexpected development of returning to art the day-to-day meaning it may have lost, through engagement with issues raised in the representation of gender, sexuality, and AIDS. In other essays by some of the most internationally acclaimed writers on art, the extraordinary challenges of twentieth-century art are introduced and discussed with unparalleled lucidity, intelligence, and factual accuracy. |
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Pagina 37
... Berlin museums , feared that the Expressionists worked ' not out of innocent desire to create but with the ambition to be noticed at all costs ' . Impressionism was still to many the arch- enemy of artistic decency ; this wilder art ...
... Berlin museums , feared that the Expressionists worked ' not out of innocent desire to create but with the ambition to be noticed at all costs ' . Impressionism was still to many the arch- enemy of artistic decency ; this wilder art ...
Pagina 39
... Berlin in 1910 , helped by the Viennese architect and writer Adolf Loos , and there he found not only a number of ... Berlin , in the Café Grössenwahn ( = megalomania ) he was able to meet artists and writers of com- parable fervour and ...
... Berlin in 1910 , helped by the Viennese architect and writer Adolf Loos , and there he found not only a number of ... Berlin , in the Café Grössenwahn ( = megalomania ) he was able to meet artists and writers of com- parable fervour and ...
Pagina 120
... Berlin Dada took its most overtly political form . When Huelsenbeck returned to Berlin from Zurich in January 1917 , he exchanged a ' smug fat idyll ' for a ' city of tightened stom- achers , of mounting , thundering hunger ' . He found ...
... Berlin Dada took its most overtly political form . When Huelsenbeck returned to Berlin from Zurich in January 1917 , he exchanged a ' smug fat idyll ' for a ' city of tightened stom- achers , of mounting , thundering hunger ' . He found ...
Inhoudsopgave
Preface Nikos Stangos | 10 |
Expressionism Norbert Lynton | 30 |
Cubism John Golding | 50 |
Copyright | |
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abstract art Abstract Expressionism Abstract Expressionists aesthetic American André André Breton Apollinaire architecture art movement artists automatism become Blaue Reiter Boccioni Braque Breton catalogue Cézanne collage colour composition Conceptual Art concerned Constructivism Constructivists contemporary critics Cubism Dada Dadaists Delaunay Demoiselles Derain Doesburg drawing Duchamp early elements Ernst exhibition expression Fauves Fauvism figure forms function futurist Gabo Gerrit Thomas Gris idea illustration images influence involved Kandinsky Kinetic Art Kooning Kupka Léger light Lissitzky London Malevich Manifesto Matisse means Miro Modern Art Mondrian Motherwell move Museum of Modern Newman objects Oil on canvas Orphism Ozenfant and Jeanneret painters painting Paris photo Museum Picabia Picasso pictorial picture planes Pollock Pop Art pure Purist Rietveld Robert Rothko Salon sculpture seems sense space spectator Stijl structure Studio style Suprematism suprematist surface Surrealism surrealist synthetic Tate Gallery technique Theo Theo van Doesburg tion tradition vertical visual Vlaminck wrote York