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
... thought. By stressing the iconic content of art, by forcing images meant to be slowly contemplated into merely narrative frames, and thus imposing the fast time of TV on the slow time of painting and sculpture; by eliminating surface ...
... thought. By stressing the iconic content of art, by forcing images meant to be slowly contemplated into merely narrative frames, and thus imposing the fast time of TV on the slow time of painting and sculpture; by eliminating surface ...
Pagina
... thought so then; today we are not so sure, but that is because we live at the end of modernism, whereas they were alive at its beginning. Between 1880 and 1930, one of the supreme cultural experiments in the history of the world was ...
... thought so then; today we are not so sure, but that is because we live at the end of modernism, whereas they were alive at its beginning. Between 1880 and 1930, one of the supreme cultural experiments in the history of the world was ...
Pagina
... thought of it as a giant slave, an untiring steel Negro, controlled by Reason in a world of infinite resources. The machine meant the conquest of process, and only very exceptional sights, like a rocket launch, can give us anything ...
... thought of it as a giant slave, an untiring steel Negro, controlled by Reason in a world of infinite resources. The machine meant the conquest of process, and only very exceptional sights, like a rocket launch, can give us anything ...
Pagina
... , this was not generally thought to be true. The difference between, so to speak, the I and the It was strictly preserved, like the sovereign distance between the patriarch and his children. Nevertheless, towards 1900 as one sees the.
... , this was not generally thought to be true. The difference between, so to speak, the I and the It was strictly preserved, like the sovereign distance between the patriarch and his children. Nevertheless, towards 1900 as one sees the.
Pagina 4
... thought of them as curiosities, and as such they were an insignificant part of the flood of raw material that France was siphoning from Africa. Picasso thought they did matter — but as raw material. Both he and Braque owned African ...
... thought of them as curiosities, and as such they were an insignificant part of the flood of raw material that France was siphoning from Africa. Picasso thought they did matter — but as raw material. Both he and Braque owned African ...
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