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
... style makes concrete: the broken outlines, strokes of pencil laid side by side, are emblems of scrupulousness in the midst of a welter of doubt. Each painting or watercolour is about the motif. But it is also about something else — the ...
... style makes concrete: the broken outlines, strokes of pencil laid side by side, are emblems of scrupulousness in the midst of a welter of doubt. Each painting or watercolour is about the motif. But it is also about something else — the ...
Pagina 4
... style or Maori-fashion. To depict the monuments of Easter Island, as William Hodges did, was one thing; to imitate their style, quite another. Yet this was what Picasso did with his African prototypes, around 1906—8. When he began to ...
... style or Maori-fashion. To depict the monuments of Easter Island, as William Hodges did, was one thing; to imitate their style, quite another. Yet this was what Picasso did with his African prototypes, around 1906—8. When he began to ...
Pagina 13
... styles moved together and became, at least to the casual eye, almost indistinguishable. (It goes without saying that close looking dispels this: there is a great deal of difference between the open, almost impressionistic brushmarks and ...
... styles moved together and became, at least to the casual eye, almost indistinguishable. (It goes without saying that close looking dispels this: there is a great deal of difference between the open, almost impressionistic brushmarks and ...
Pagina 19
... style Pompidou. It is still there, only in pockets: the glass and iron city of small arcades, the marble city of café tables, the place of zinc bars, dominoes, dirty chessboards, and crumpled newspaper; the brown city of old paint and ...
... style Pompidou. It is still there, only in pockets: the glass and iron city of small arcades, the marble city of café tables, the place of zinc bars, dominoes, dirty chessboards, and crumpled newspaper; the brown city of old paint and ...
Pagina 19
... ) with political implications, being widely regarded as the style of anarchists and social reformers. Paul Signac, Seurat's closest follower, had been a committed, though non-violent, anarchist. For a painter at work in.
... ) with political implications, being widely regarded as the style of anarchists and social reformers. Paul Signac, Seurat's closest follower, had been a committed, though non-violent, anarchist. For a painter at work in.
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