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
... Monet's lily-pond in Giverny, the crematorium at Dachau, a roof in Brasilia, the edge of the Grand Canyon, and the ruins of the Marquis de Sade's chdteau, I find — adding up the air tickets — that I covered more than a quarter of a ...
... Monet's lily-pond in Giverny, the crematorium at Dachau, a roof in Brasilia, the edge of the Grand Canyon, and the ruins of the Marquis de Sade's chdteau, I find — adding up the air tickets — that I covered more than a quarter of a ...
Pagina
... Monet and Renoir. The master-image of painting was no longer landscape but the metropolis. In the country, things grow; but the essence of manufacture, of the city, is process, and this could only be expressed by metaphors of linkage ...
... Monet and Renoir. The master-image of painting was no longer landscape but the metropolis. In the country, things grow; but the essence of manufacture, of the city, is process, and this could only be expressed by metaphors of linkage ...
Pagina 13
... Monet's waterlilies. But neither Picasso nor Braque was interested, as Monet supremely was, in the effects of light. Their paintings of 1911 have very little air in them, and the continuous vibration and twinkling of brush-strokes ...
... Monet's waterlilies. But neither Picasso nor Braque was interested, as Monet supremely was, in the effects of light. Their paintings of 1911 have very little air in them, and the continuous vibration and twinkling of brush-strokes ...
Pagina 44
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Pagina 78
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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