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
... one structure that can be seen from every point in the city. No metropolis in Europe had ever been so visually dominated by a single structure, except Rome by St. Peter's; and even today, Eiffel's spike is more generally visible in its own.
... one structure that can be seen from every point in the city. No metropolis in Europe had ever been so visually dominated by a single structure, except Rome by St. Peter's; and even today, Eiffel's spike is more generally visible in its own.
Pagina
... seen by the public was the gargoyle gallery of Notre Dame. Most people lived entirely at ground level, or within forty feet of it, the height of an ordinary apartment house. Nobody except a few intrepid balloonists had ever risen a ...
... seen by the public was the gargoyle gallery of Notre Dame. Most people lived entirely at ground level, or within forty feet of it, the height of an ordinary apartment house. Nobody except a few intrepid balloonists had ever risen a ...
Pagina
... seen not only as a branch of mathematics but as an almost magical process, having something of the surprise that our grandparents got from their Kodaks. Apply the method and the illusion unfolds; you press the button, we do the rest ...
... seen not only as a branch of mathematics but as an almost magical process, having something of the surprise that our grandparents got from their Kodaks. Apply the method and the illusion unfolds; you press the button, we do the rest ...
Pagina
... seen in Cézanne's work. What is there, especially in the work of the last decade and a half of his life — from 1890 onwards, after he finally abandoned Paris and settled in solitude in Aix — is a vast curiosity about the relativeness of ...
... seen in Cézanne's work. What is there, especially in the work of the last decade and a half of his life — from 1890 onwards, after he finally abandoned Paris and settled in solitude in Aix — is a vast curiosity about the relativeness of ...
Pagina 7
... seen in the Louvre). Nothing about their expressions could be construed as welcoming, let alone coquettish. They are more like judges than houris. And so Les Demoiselles announces one of the recurrent subthemes of Picasso's art: a fear ...
... seen in the Louvre). Nothing about their expressions could be construed as welcoming, let alone coquettish. They are more like judges than houris. And so Les Demoiselles announces one of the recurrent subthemes of Picasso's art: a fear ...
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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