Concepts of Modern ArtNikos Stangos Harper & Row, 1981 - 384 pagina's No other book on modern and contemporary art presents in as authoritative and concise a manner the ideas that underlie the diverse and radical developments of the last hundred years. In this new edition, an important essay, "Postmodernism and the Art of Identity", not only brings the story of modern art right up to the present, but also introduces the unexpected development of returning to art the day-to-day meaning it may have lost, through engagement with issues raised in the representation of gender, sexuality, and AIDS. In other essays by some of the most internationally acclaimed writers on art, the extraordinary challenges of twentieth-century art are introduced and discussed with unparalleled lucidity, intelligence, and factual accuracy. |
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Pagina 14
... Matisse , on the other hand , together with his friend Marquet , preferred to go out into the streets and make factual impressions of the life around them in a series of rapid sketches . Evidently Marquet was especially accomplished at ...
... Matisse , on the other hand , together with his friend Marquet , preferred to go out into the streets and make factual impressions of the life around them in a series of rapid sketches . Evidently Marquet was especially accomplished at ...
Pagina 23
... Matisse had yet done . One aspect of Matisse that Picasso's painting makes us aware of is his affinity with the literary traditions of the 1880s and 1890s . Just as Luxe , Calme et Volupté had sprung from the writings of Baudelaire , so ...
... Matisse had yet done . One aspect of Matisse that Picasso's painting makes us aware of is his affinity with the literary traditions of the 1880s and 1890s . Just as Luxe , Calme et Volupté had sprung from the writings of Baudelaire , so ...
Pagina 25
... Matisse learnt more consistently from him than from any other painter of that generation . In Le Luxe of 1907 , for example , Matisse again attempted a new interpretation of this theme of figures in landscape , but here he extracts the ...
... Matisse learnt more consistently from him than from any other painter of that generation . In Le Luxe of 1907 , for example , Matisse again attempted a new interpretation of this theme of figures in landscape , but here he extracts the ...
Inhoudsopgave
Preface Nikos Stangos | 10 |
Expressionism Norbert Lynton | 30 |
Cubism John Golding | 50 |
Copyright | |
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abstract art Abstract Expressionism Abstract Expressionists aesthetic American André André Breton Apollinaire architecture artists automatism become Blaue Reiter Boccioni Braque Breton catalogue Cézanne collage colour composition Conceptual Art concerned Constructivism Constructivists contemporary critics Cubism Dada Dadaists Delaunay Demoiselles Derain Doesburg drawing Duchamp early elements Ernst exhibition expression Fauves Fauvism figure forms function futurist Gabo Gris idea illustration images influence involved Kandinsky Kinetic Art Kooning Kupka Léger light Lissitzky London Malevich Manifesto Matisse means Miro Modern Art Mondrian Motherwell Museum of Modern Newman objects Oil on canvas Orphism Ozenfant and Jeanneret painters painting Paris photo Museum Picabia Picasso pictorial picture planes Pollock Pop Art pure Purist Rietveld Robert Rothko Salon sculpture seems sense space spectator Stijl structure Studio style Suprematism suprematist surface Surrealism surrealist synthetic Tate Gallery technique Theo Theo van Doesburg tion tradition vertical visual Vlaminck Vorticists Willem de Kooning wrote York