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
... Paris World's Fair. The date of the Fair was symbolic. It was the centenary of the French Revolution. The holding of World's Fairs, those festivals of high machine-age capitalism in which nation after nation showed off its industrial ...
... Paris World's Fair. The date of the Fair was symbolic. It was the centenary of the French Revolution. The holding of World's Fairs, those festivals of high machine-age capitalism in which nation after nation showed off its industrial ...
Pagina
... Paris overnight, and in doing so, it proclaimed la ville lumiere to be the modernist capital — quite independently of anything else that might be written, composed, produced, or painted there. As such, it was praised by Guillaume ...
... Paris overnight, and in doing so, it proclaimed la ville lumiere to be the modernist capital — quite independently of anything else that might be written, composed, produced, or painted there. As such, it was praised by Guillaume ...
Pagina
... Paris. It commemorates the great road race of 1895, from Paris to Bordeaux and back, which was won by an engineer named Emile Levassor in the car he designed and built himself, the Panhard-Levassor 5 — which could go at about the same ...
... Paris. It commemorates the great road race of 1895, from Paris to Bordeaux and back, which was won by an engineer named Emile Levassor in the car he designed and built himself, the Panhard-Levassor 5 — which could go at about the same ...
Pagina
... a steering wheel. Such motifs were too new, like the machine itself, so no exact representation of a car in stone could be as visually convincing as the car itself. 1 Camille Lefebvre Monument to Levassor, Porte Maillot, Paris 1907.
... a steering wheel. Such motifs were too new, like the machine itself, so no exact representation of a car in stone could be as visually convincing as the car itself. 1 Camille Lefebvre Monument to Levassor, Porte Maillot, Paris 1907.
Pagina
... Paris 1907 Marble relief after Jules Dalou 1838—1902 (photo Roger Viollet, Paris) Yet the cultural conditions of seeing were starting to change, and the Eiffel Tower stood for that too. The most spectacular thing about it in the 18905 ...
... Paris 1907 Marble relief after Jules Dalou 1838—1902 (photo Roger Viollet, Paris) Yet the cultural conditions of seeing were starting to change, and the Eiffel Tower stood for that too. The most spectacular thing about it in the 18905 ...
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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