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
... object on earth, topping out — before the installation of its present-day radio and TV masts — at 1056 feet. No doubt a biblical suggestion was at work, consciously or not. Since the Fair would embrace all nations, its central metaphor ...
... object on earth, topping out — before the installation of its present-day radio and TV masts — at 1056 feet. No doubt a biblical suggestion was at work, consciously or not. Since the Fair would embrace all nations, its central metaphor ...
Pagina
... objects, than it is today. Perhaps this had happened because more and more people were Jiving in a machine-formed environment: the city. The machine was a relatively fresh part of social experience in 1880, whereas in 1780 it had been ...
... objects, than it is today. Perhaps this had happened because more and more people were Jiving in a machine-formed environment: the city. The machine was a relatively fresh part of social experience in 1880, whereas in 1780 it had been ...
Pagina
... objects predominate over natural ones like flowers or fruit. Cubism as practised by its inventors and chief interpreters — Picasso, Braque, Léger, and Gris — does not woo the eye or the senses, and its theatre is a cramped brown room or ...
... objects predominate over natural ones like flowers or fruit. Cubism as practised by its inventors and chief interpreters — Picasso, Braque, Léger, and Gris — does not woo the eye or the senses, and its theatre is a cramped brown room or ...
Pagina
... object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from ... object: your eye is never still. It flickers, involuntarily restless, from side to side. Nor is your head still in ...
... object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from ... object: your eye is never still. It flickers, involuntarily restless, from side to side. Nor is your head still in ...
Pagina
... objects inhabit the same plane, the same field, and they influence one another mutually and reciprocally. In the late nineteenth century, this was not generally thought to be true. The difference between, so to speak, the I and the It ...
... objects inhabit the same plane, the same field, and they influence one another mutually and reciprocally. In the late nineteenth century, this was not generally thought to be true. The difference between, so to speak, the I and the 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