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
... figure — the Tower imagined as a benevolent colossus, planted with spread legs in the middle of Paris. It also referred to the greatest permanent festive structure of the seventeenth century, Bernini's Fountain of the Four Rivers in the ...
... figure — the Tower imagined as a benevolent colossus, planted with spread legs in the middle of Paris. It also referred to the greatest permanent festive structure of the seventeenth century, Bernini's Fountain of the Four Rivers in the ...
Pagina 5
... figure, which had been the very spine of Western art for two and a half millennia, had at last run out; and that in ... figures were not Expressionist distortions, but conventional forms, was perhaps less clear (or at least less ...
... figure, which had been the very spine of Western art for two and a half millennia, had at last run out; and that in ... figures were not Expressionist distortions, but conventional forms, was perhaps less clear (or at least less ...
Pagina 6
... figures. And the angular, harshly lit blue space between them closely resembles the drapery in El Greco's Dumbarton Oaks Visitation. That Picasso could give empty space the same kind of distortion a sixteenth-century artist reserved for ...
... figures. And the angular, harshly lit blue space between them closely resembles the drapery in El Greco's Dumbarton Oaks Visitation. That Picasso could give empty space the same kind of distortion a sixteenth-century artist reserved for ...
Pagina 19
... figure, so reminiscent of a man, ramping among the silvery lead roofs of Paris and the distant puffballs of cloud. That vast grid rising over Paris with the sky reeling through it became his fundamental image of modernity: light seen ...
... figure, so reminiscent of a man, ramping among the silvery lead roofs of Paris and the distant puffballs of cloud. That vast grid rising over Paris with the sky reeling through it became his fundamental image of modernity: light seen ...
Pagina 19
... figures of workmen contain more than a memory of its apparent source, Tintoretto's Raising of the Cross in the Scuola di ... figure on one plate, these images introduced time into space. The body left the memory of its passage in the air ...
... figures of workmen contain more than a memory of its apparent source, Tintoretto's Raising of the Cross in the Scuola di ... figure on one plate, these images introduced time into space. The body left the memory of its passage in the air ...
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