The Shock of the NewKnopf, 1981 - 423 pagina's A beautifully illustrated hundred-year history of modern art, from cubism to pop and avant-guard. More than 250 color photos. Copyright © Libri GmbH. All rights reserved. |
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Pagina 141
... believed art could still change the world , this seemed a limited aim , but in fact one can only admire Matisse's common sense . He , at least , was under no illusions about his audience . He knew that an educated bourgeoisie was the ...
... believed art could still change the world , this seemed a limited aim , but in fact one can only admire Matisse's common sense . He , at least , was under no illusions about his audience . He knew that an educated bourgeoisie was the ...
Pagina 168
... believed that art was libidinous before it was anything else . " All art is erotic , " he roundly declared , and identified body - painting as the root of ornament - a suitable practice for primitives but not for modern Europeans ...
... believed that art was libidinous before it was anything else . " All art is erotic , " he roundly declared , and identified body - painting as the root of ornament - a suitable practice for primitives but not for modern Europeans ...
Pagina 304
... believed that eighteenth - century counterpoint ( his favourite form ) could be translated quite directly into gradations of colour and value , repetitions and changes of motif ; his compositions of stacked forms , fanned out like decks ...
... believed that eighteenth - century counterpoint ( his favourite form ) could be translated quite directly into gradations of colour and value , repetitions and changes of motif ; his compositions of stacked forms , fanned out like decks ...
Veelvoorkomende woorden en zinsdelen
abstract Abstract Expressionism aesthetic American architects architecture artist avant-garde Bauhaus become Berlin Braque Breton Bruno Taut building CADAGP Campbell Campbell Campbell Cézanne Cézanne's Chirico's collage colour Corbusier Cubism culture Dada Dali Duchamp Ernst Expressionism Expressionist fantasies figures French Futurist Gallery Gauguin Georges Braque German glass Gogh Gropius Henri Matisse idea ideal images imagined Jackson Pollock Kandinsky landscape Le Corbusier Leo Castelli London look machine Marcel Duchamp Mark Rothko mass Matisse Matisse's Max Ernst meaning meant metaphor Modern Art modernist Mondrian Monet motif Munch Museum of Modern nature nineteenth century objects Oil on canvas Pablo Picasso painter painting Paris Picasso plate political Pollock Pop art Rauschenberg reality Rothko Russian sculpture seemed seen sense Seurat sixties social SOUP SOUP SOUP space SPADEM studio style surface Surrealism Surrealist symbol Thames & Hudson things TOMATO Tower tradition twentieth century Utopian visual wanted watercolour wrote York
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