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 19
... Marinetti (1876—1944), part lyrical genius, part organ grinder, and, in later years, part Fascist demagogue. He was by his own account the most modern man in his own country. By any imaginable standards he was a singular creature, sired ...
... Marinetti (1876—1944), part lyrical genius, part organ grinder, and, in later years, part Fascist demagogue. He was by his own account the most modern man in his own country. By any imaginable standards he was a singular creature, sired ...
Pagina 19
... Marinetti's verbal images of it predict what collage would later do in the realm of the eye, summoning up a demented ... Marinetti, The Variety Theatre, 1913. Marinetti's enemy was the past. He attacked history and memory with operatic ...
... Marinetti's verbal images of it predict what collage would later do in the realm of the eye, summoning up a demented ... Marinetti, The Variety Theatre, 1913. Marinetti's enemy was the past. He attacked history and memory with operatic ...
Pagina 19
... Marinetti the shits — this, six years before Marcel Duchamp's scurrilous LHOOQ, the. moustache. on. the. Mona. Lisa. With every reason, Marinetti called himself la caffeina dell' Europa, “the caffeine of Europe.” The name “Futurism” was a ...
... Marinetti the shits — this, six years before Marcel Duchamp's scurrilous LHOOQ, the. moustache. on. the. Mona. Lisa. With every reason, Marinetti called himself la caffeina dell' Europa, “the caffeine of Europe.” The name “Futurism” was a ...
Pagina 19
... Marinetti before World War I was how to translate this kind of vision into paint. The first possibility seemed to be the technique of breaking light and colour down into a field of stippled dots, which derived from French neo ...
... Marinetti before World War I was how to translate this kind of vision into paint. The first possibility seemed to be the technique of breaking light and colour down into a field of stippled dots, which derived from French neo ...
Pagina 19
... Marinetti had praised as the hygiene of civilization — resorted to it on a heroic scale in The City Rises, 1910—11 (plate 23), his paean of joy to industry and heavy construction. Boccioni had frequented the outskirts of Milan, where ...
... Marinetti had praised as the hygiene of civilization — resorted to it on a heroic scale in The City Rises, 1910—11 (plate 23), his paean of joy to industry and heavy construction. Boccioni had frequented the outskirts of Milan, where ...
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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