Les Fauves: A Sourcebook

Greenwood Publishing Group, 1994 - 683 pagina's
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This is the first comprehensive scholarly bibliography/research guide/sourcebook on the major French Fauve painters (Henri Matisse and Georges Braque are treated in separate Greenwood bio-bibliographies). It includes information on 3,120 books and articles as well as chronologies, biographical sketches, and exhibition lists. Each artist receives a primary and secondary bibliography with many annotated entries. Secondary bibliographies include details about each artists' life and career, relationships with other artists, work in various media, iconography, and more. Designed for art historians, art students, museum and gallery curators, and art lovers alike, this volume organizes the vast literature surrounding this fascinating, revolutionary, 20th-century art group.

Genuinely new art is always challenging, sometimes even shocking to those unprepared for it. In 1905, the paintings of Matisse, Derain, Vlaminck and their friends shocked conservative museum-goers; hence, the eventual popularity of art critic Louis Vauxcelles's tag les fauves, or wild beasts by which these artists became known. Although it lasted only three or four years, Fauvism is recognized as the first artistic revolution of international consequence in the 20th century. It was based on the glorification of pure saturated colors and the free expression of primitivism. It was a dynamic sensualism; an equilibrium of passion and order, fire and austerity that could not last. By the end of 1908, Fauvism collapsed in the face of Cubism, which, moreover, several Fauve artists helped to form.


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Chronology 19041908
Common Abbreviations
Fauvism in General
Raoul Dufy
Georges Rouault
Maurice de Vlaminck
Andre Derain
Kees van Dongen
EmileOthon Friesz
Charles Camoin
Henri Manguin
Jean Puy
Louis Valtat
Art Works Index
Personal Names Index

Albert Marquet

Veelvoorkomende woorden en zinsdelen

Populaire passages

Pagina xxxii - I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject matter, an art which could be for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue . . . (Matisse, 1908:35-40) Matisse's language is both gender and class specific.
Pagina xv - Persian weavers; no, it is something still more abstract; it is painting outside every contingency, painting in itself, the act of pure painting. All the qualities of the picture other than the contrasts of line and color, everything which the rational mind of the painter has not controlled, everything which comes from our instinct and from nature, finally all the factors of representation and of feeling are excluded from the work of art. Here is in fact a search for the absolute. Yet, strange contradiction,...
Pagina xv - When one enters the gallery devoted to their work, at the sight of these landscapes, these figure studies, these simple designs, all of them violent in color, one prepares to examine their intentions, to learn their theories; and one feels completely in the realm of abstraction.

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Over de auteur (1994)

RUSSELL T. CLEMENT is Fine Arts Librarian, Harold B. Lee Library, Brigham Young University. His Greenwood books include Georges Braque: A Bio-Bibliography (1994), Henri Matisse: A Bio-Bibliography (1993), and Paul Gauguin: A Bio-Bibliography (1991). His articles have appeared in The Journal of American Folklore, The Hawaiian Journal of History, Library Journal, and others. He is currently completing a research guide on the French Symbolist painters.

Bibliografische gegevens