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
... wrote and narrated for the BBC. From the first take to the last, The Shock of the New ate up three years of research, writing, and filming; and having addressed the camera from places as remote from one another, geographically and ...
... wrote and narrated for the BBC. From the first take to the last, The Shock of the New ate up three years of research, writing, and filming; and having addressed the camera from places as remote from one another, geographically and ...
Pagina
... , and that is why I like it. I am not a philosopher, but a journalist who has had the good luck never to be bored by his subject. “Je resous de m'informer du pourquoi,” Baudelaire wrote after seeing Tannhc'iuser in 1860, “et de.
... , and that is why I like it. I am not a philosopher, but a journalist who has had the good luck never to be bored by his subject. “Je resous de m'informer du pourquoi,” Baudelaire wrote after seeing Tannhc'iuser in 1860, “et de.
Pagina
The Hundred=Year History of Modern Art Robert Hughes. pourquoi,” Baudelaire wrote after seeing Tannhc'iuser in 1860, “et de transformer ma volupté en connaissance”: “I set out to discover the why of it, and to transform my pleasure into ...
The Hundred=Year History of Modern Art Robert Hughes. pourquoi,” Baudelaire wrote after seeing Tannhc'iuser in 1860, “et de transformer ma volupté en connaissance”: “I set out to discover the why of it, and to transform my pleasure into ...
Pagina
... wrote his manifesto The Definition of Neo-Traditionalism in the summer of 1890, it began with one of the canonical phrases of modernism: that “a picture — before being a warhorse, a nude woman, or some sort of anecdote — is essentially ...
... wrote his manifesto The Definition of Neo-Traditionalism in the summer of 1890, it began with one of the canonical phrases of modernism: that “a picture — before being a warhorse, a nude woman, or some sort of anecdote — is essentially ...
Pagina
... wrote to his son in Paris: I must tell you that as a painter I am becoming more clear-sighted before Nature, but with me the realization of my sensations is always painful. I cannot attain the intensity that is unfolded before my senses.
... wrote to his son in Paris: I must tell you that as a painter I am becoming more clear-sighted before Nature, but with me the realization of my sensations is always painful. I cannot attain the intensity that is unfolded before my senses.
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