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 12
... studio played a great part in forming the careers of these painters , for , unlike other studios attached to the Ecole des Beaux Arts where academic principles were strictly practised , Moreau actively en- couraged his students to ...
... studio played a great part in forming the careers of these painters , for , unlike other studios attached to the Ecole des Beaux Arts where academic principles were strictly practised , Moreau actively en- couraged his students to ...
Pagina 204
... Studio International , December 1967 ) . 4. From a statement in Sidney Janis , Abstract and Surrealist Art in America , New York , 1944 . 5. See Ethel Schwabacher , Arshile Gorky , New York , 1957 : ' Gorky frequently looked at ... the ...
... Studio International , December 1967 ) . 4. From a statement in Sidney Janis , Abstract and Surrealist Art in America , New York , 1944 . 5. See Ethel Schwabacher , Arshile Gorky , New York , 1957 : ' Gorky frequently looked at ... the ...
Pagina 209
... Studio International , February 1970 ) . 59. Rothko , ' The Romantics were prompted ' . — 60. ' Most of the people I knew , they just laughed about his [ Rothko's ] painting . They just didn't take him seriously at all . He and Barney ...
... Studio International , February 1970 ) . 59. Rothko , ' The Romantics were prompted ' . — 60. ' Most of the people I knew , they just laughed about his [ Rothko's ] painting . They just didn't take him seriously at all . He and Barney ...
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