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 97
... wrote a manifesto which appeared first as preface to a volume of his poems , published in Milan in January 1909. It was , however , its appearance in French on page one of Le Figaro on 20 February the same year that gave it the sort of ...
... wrote a manifesto which appeared first as preface to a volume of his poems , published in Milan in January 1909. It was , however , its appearance in French on page one of Le Figaro on 20 February the same year that gave it the sort of ...
Pagina 101
... wrote a Manifesto of Futurist Women ( ' Instead of putting men under the yoke of miserable , sentimental needs , drive your sons , your men , to excel themselves . You create them . You can do everything with them . You owe humanity ...
... wrote a Manifesto of Futurist Women ( ' Instead of putting men under the yoke of miserable , sentimental needs , drive your sons , your men , to excel themselves . You create them . You can do everything with them . You owe humanity ...
Pagina 155
... wrote : ' If the means of expression are liberated from all particu- larity , they are in harmony with the ultimate end of art , which is to realise a universal language . ' 27 However , how such means of expres- sion were to become ...
... wrote : ' If the means of expression are liberated from all particu- larity , they are in harmony with the ultimate end of art , which is to realise a universal language . ' 27 However , how such means of expres- sion were to become ...
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