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 9
... moved in and out of movements or simply transcended them . But an even better case is that of Fernand Léger who , as a result , is ironically hardly represented in this book . At present even the notion of move- ments has lost its ...
... moved in and out of movements or simply transcended them . But an even better case is that of Fernand Léger who , as a result , is ironically hardly represented in this book . At present even the notion of move- ments has lost its ...
Pagina 212
... move are considered ' Kinetic ' nor do all ' Kinetic ' works move . In the precise sense in which the term is used , a work of Kinetic Art must have other specific qualities besides that of moving : the movement must pro- duce a ...
... move are considered ' Kinetic ' nor do all ' Kinetic ' works move . In the precise sense in which the term is used , a work of Kinetic Art must have other specific qualities besides that of moving : the movement must pro- duce a ...
Pagina 217
... move Works which actually move may be distinguished from one another by the motive power employed . Since the twenties technology has sufficiently advanced to make it possible for artists to use a wide variety of electrically powered ...
... move Works which actually move may be distinguished from one another by the motive power employed . Since the twenties technology has sufficiently advanced to make it possible for artists to use a wide variety of electrically powered ...
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