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
... feeling of a new age that the Eiffel Tower made concrete. It was the herald of a millennium, as the nineteenth century made ready to click over into the twentieth. And in its height, its structural daring, its then-radical use of ...
... feeling of a new age that the Eiffel Tower made concrete. It was the herald of a millennium, as the nineteenth century made ready to click over into the twentieth. And in its height, its structural daring, its then-radical use of ...
Pagina
... feeling of relative motion (the poplars nearby seeming to move faster than the church spire across the field) due to parallax. The view from the train was not the view from the horse. It compressed more motifs into the same time ...
... feeling of relative motion (the poplars nearby seeming to move faster than the church spire across the field) due to parallax. The view from the train was not the view from the horse. It compressed more motifs into the same time ...
Pagina
... feeling that this was so was widespread. For the essence of the early modernist experience, between 1880 and 1914, was not the specific inventions — nobody was much affected by Einstein until Hiroshima; a prototype in a lab or an ...
... feeling that this was so was widespread. For the essence of the early modernist experience, between 1880 and 1914, was not the specific inventions — nobody was much affected by Einstein until Hiroshima; a prototype in a lab or an ...
Pagina 5
... feeling of instability, Les Demoiselles is still a disturbing painting after three quarters of a century, a refutation of the idea that the surprise of art, like the surprise of fashion, must necessarily wear off. No painting ever ...
... feeling of instability, Les Demoiselles is still a disturbing painting after three quarters of a century, a refutation of the idea that the surprise of art, like the surprise of fashion, must necessarily wear off. No painting ever ...
Pagina 7
... feeling of solidity; their shading is eccentric, and some of their corners — notably the one of the large house at the centre of the composition, closest to the eye — could be either sticking out of the canvas or pointing back into it ...
... feeling of solidity; their shading is eccentric, and some of their corners — notably the one of the large house at the centre of the composition, closest to the eye — could be either sticking out of the canvas or pointing back into it ...
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