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 26
... colour that struck him , rather than the ideas behind them . This use of colour was liberating and exhilarating for all the Fauves , not just Vlaminck , and largely it is true to say that they needed no more justification for painting ...
... colour that struck him , rather than the ideas behind them . This use of colour was liberating and exhilarating for all the Fauves , not just Vlaminck , and largely it is true to say that they needed no more justification for painting ...
Pagina 65
... colour , too , must be used in a way that struck the desired balance between pictorial abstraction and representation ; a close examination of many of the canvases of Picasso's classical phase show that he tried to reintroduce colour in ...
... colour , too , must be used in a way that struck the desired balance between pictorial abstraction and representation ; a close examination of many of the canvases of Picasso's classical phase show that he tried to reintroduce colour in ...
Pagina 240
... colour , has always stressed the fact that any work which involves the use of colour is an empiri- cal study in relationships . The statement in itself is in no way revo- lutionary Ruskin too referred to colour as wholly relative accord ...
... colour , has always stressed the fact that any work which involves the use of colour is an empiri- cal study in relationships . The statement in itself is in no way revo- lutionary Ruskin too referred to colour as wholly relative accord ...
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