Concepts of Modern ArtNo 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 174
The coincidence of late-cubist concerns in the most advanced European painters
offered one crucial context of influence for the Americans. A necessary antinomic
context was provided by that aspect of European Surrealism which involved ...
The coincidence of late-cubist concerns in the most advanced European painters
offered one crucial context of influence for the Americans. A necessary antinomic
context was provided by that aspect of European Surrealism which involved ...
Pagina 197
... familiar as his subjects were the pictures of the single human figure - alone in a
moment of utter immobility.' (Rothko, 1947) 65 It is necessary to be able to see all
this at more than one level : a ' heroic ' and ' elevated ' ambition in a context of ...
... familiar as his subjects were the pictures of the single human figure - alone in a
moment of utter immobility.' (Rothko, 1947) 65 It is necessary to be able to see all
this at more than one level : a ' heroic ' and ' elevated ' ambition in a context of ...
Pagina 199
It is important to remember that this illusory space has its origin - not in specific,
but in general terms - in the 'liquid', ' metamorphic ' contexts of Rothko's pre-1947
paintings; it is a 'world' of its own, or at least serves as reference to an 'other' ...
It is important to remember that this illusory space has its origin - not in specific,
but in general terms - in the 'liquid', ' metamorphic ' contexts of Rothko's pre-1947
paintings; it is a 'world' of its own, or at least serves as reference to an 'other' ...
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Inhoudsopgave
Preface Nikos Stangos | 7 |
Expressionism Norbert Lynton | 30 |
Cubism John Golding | 50 |
Copyright | |
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Veelvoorkomende woorden en zinsdelen
abstract art Abstract Expressionism Abstract Expressionists achieved aesthetic American Apollinaire architecture art movement artists automatism Bauhaus become Berlin Blaue Reiter Boccioni Braque Breton Cezanne collage colour composition Conceptual Art concerned construction Constructivism Constructivists contemporary context Cubism Dada Dadaists Delaunay Demoiselles Derain Doesburg drawing Duchamp early elements Ernst exhibition expression Fauves Fauvism figure forms function futurist Gallery Gerrit Thomas Gris idea illustration images influence involved Kandinsky Kinetic Art Kooning Kupka Leger light Lissitzky Malevich Manifesto material Matisse Matisse's means Miro Modern Art Mondrian Motherwell move Museum of Modern Newman objects Oil on canvas Orphism painters painting Paris photo Museum Picabia Picasso pictorial picture planes Pollock Pop Art pure Purist Rietveld Robert Rothko sculpture seems sense space spectator Stijl structure studio style Suprematism suprematist surface Surrealism surrealist synthetic Synthetic Cubism technique Theo Theo van Doesburg tion tradition vertical visual Vlaminck Vorticists wrote York
Bibliografische gegevens
| Titel | Concepts of Modern Art Icon Editions |
| Redacteur | Nikos Stangos |
| Bijdrager | Nikos Stangos |
| Editie | 2, geïllustreerd |
| Uitgever | Harper & Row, 1981 |
| Oorspronkelijk uit | de University of Michigan |
| Gedigitaliseerd | 17 nov 2009 |
| ISBN | 0064301044, 9780064301046 |
| Lengte | 384 pagina's |
| Citatie exporteren | BiBTeX EndNote RefMan |