The Shock of the New: The Hundred=Year History of Modern ArtKnopf Doubleday Publishing Group, 14 aug 2013 - 448 pagina's A beautifully illustrated hundred-year history of modern art, from cubism to pop and avant-guard. More than 250 color photos. |
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Pagina
... Braque, Léger, and Gris — does not woo the eye or the senses, and its theatre is a cramped brown room or the corner of a café. Beside the peacocks of the nineteenth century — the canvases of Delacroix or Renoir - their paintings look ...
... Braque, Léger, and Gris — does not woo the eye or the senses, and its theatre is a cramped brown room or the corner of a café. Beside the peacocks of the nineteenth century — the canvases of Delacroix or Renoir - their paintings look ...
Pagina 1
... Braque, the son of a housepainter in Normandy. Picasso already had a small reputation, based on the wistful, etiolated nudes, circus folk, and beggars he had been painting up to 1905 — the so-called Blue and Rose periods of his work ...
... Braque, the son of a housepainter in Normandy. Picasso already had a small reputation, based on the wistful, etiolated nudes, circus folk, and beggars he had been painting up to 1905 — the so-called Blue and Rose periods of his work ...
Pagina 3
... Braque brought to its climax a long interest which nineteenth-century France had shown in the exotic, the distant, and the primitive. The French colonial empire in Morocco had given the exotic images of Berber and soukh, dancing girl ...
... Braque brought to its climax a long interest which nineteenth-century France had shown in the exotic, the distant, and the primitive. The French colonial empire in Morocco had given the exotic images of Berber and soukh, dancing girl ...
Pagina 4
... Braque owned African carvings, but they had no anthropological interest in them at all. They didn't care about their ritual uses, they knew nothing about their original tribal meanings (which assigned art a very different function to ...
... Braque owned African carvings, but they had no anthropological interest in them at all. They didn't care about their ritual uses, they knew nothing about their original tribal meanings (which assigned art a very different function to ...
Pagina 7
... Braque was horrified by its ugliness and intensity — Picasso, he said, had been “drinking turpentine and spitting fire,” more like a carny performer than an artist — but in 1908 he painted a rather timid and laborious response to it. In ...
... Braque was horrified by its ugliness and intensity — Picasso, he said, had been “drinking turpentine and spitting fire,” more like a carny performer than an artist — but in 1908 he painted a rather timid and laborious response to it. In ...
Veelvoorkomende woorden en zinsdelen
abstract Abstract Expressionism aesthetic American architects architecture artist avant-garde Bauhaus Berlin Brancusi Braque Breton Bruno Taut building Cézanne Cézanne’s Chirico collage Collection colour Corbusier Corbusier’s Cubism culture Dada Dali Duchamp eighties Ernst Expressionism Expressionist fantasies feeling figure flat flesh French Futurist Gallery Gauguin Georges Braque German glass Gogh Gropius Henri Matisse idea ideal imagery images imagined influence Jackson Pollock Kandinsky Kooning landscape Le Corbusier Leo Castelli living look machine Marinetti Mark Rothko mass Matisse Matisse’s Max Ernst metaphor Modern Art modernist Mondrian Monet motif Munch Museum of Modern nature objects Oil on canvas one’s Pablo Picasso painter painting Paris Paul Cézanne Picasso plate political Pollock Pop art Rauschenberg reality reflected Rothko Russian sculpture seemed seen sense Seurat seventies sixties social space street studio style surface Surrealism Surrealist symbol things thought Tower tradition twentieth century visual wall wanted Warhol watercolour Weimar wrote York