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 21
... sculpture . Vlaminck claimed that it was he who first ' discovered ' African sculpture in 1904 ; whether he did or not is not a crucial issue here , what is important is that Matisse and Derain both became equally appreciative of this ...
... sculpture . Vlaminck claimed that it was he who first ' discovered ' African sculpture in 1904 ; whether he did or not is not a crucial issue here , what is important is that Matisse and Derain both became equally appreciative of this ...
Pagina 214
... sculpture or the painting . In my opinion , rhythm in a work of art is as important as space and structure and image . ' 6 What Gabo and Pevsner envisaged was a form of sculpture in which movement would have an equal place with ...
... sculpture or the painting . In my opinion , rhythm in a work of art is as important as space and structure and image . ' 6 What Gabo and Pevsner envisaged was a form of sculpture in which movement would have an equal place with ...
Pagina 251
... sculpture . Critical to that redefinition is the fact that the forms are assembled rather than being modelled or carved or welded . There are no adhesives or joints , no base or pedestal , so the work can be dismantled , stacked and ...
... sculpture . Critical to that redefinition is the fact that the forms are assembled rather than being modelled or carved or welded . There are no adhesives or joints , no base or pedestal , so the work can be dismantled , stacked and ...
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