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
... idea developing in its scientific form in the work of F. H. Bradley, Alfred North Whitehead, and Albert Einstein, so one artist, scientifically illiterate, ignorant of their work (as every Frenchman outside the scientific community was ...
... idea developing in its scientific form in the work of F. H. Bradley, Alfred North Whitehead, and Albert Einstein, so one artist, scientifically illiterate, ignorant of their work (as every Frenchman outside the scientific community was ...
Pagina
... idea that doubt can be heroic, if it is locked into a structure as grand as that of the paintings of Cézanne's old age, is one of the keys to our century, a touchstone of modernity itself. Cubism would take it to an extreme. The idea ...
... idea that doubt can be heroic, if it is locked into a structure as grand as that of the paintings of Cézanne's old age, is one of the keys to our century, a touchstone of modernity itself. Cubism would take it to an extreme. The idea ...
Pagina 4
... idea of African tribal societies was not far from the one most Frenchmen had — jungle drums, bones in the noses, missionary stew. In this respect, Cubism was like a dainty parody of the imperial model. The African carvings were an ...
... idea of African tribal societies was not far from the one most Frenchmen had — jungle drums, bones in the noses, missionary stew. In this respect, Cubism was like a dainty parody of the imperial model. The African carvings were an ...
Pagina 5
... idea that the surprise of art, like the surprise of fashion, must necessarily wear off. No painting ever looked more convulsive. None signalled a faster change in the history of art. Yet it was anchored in tradition, and its attack on ...
... idea that the surprise of art, like the surprise of fashion, must necessarily wear off. No painting ever looked more convulsive. None signalled a faster change in the history of art. Yet it was anchored in tradition, and its attack on ...
Pagina 7
... ideas are too fundamental, and contain too great a cultural loading, to be the invention of one man. So it was with ... idea of mastery.” He loved Cézanne's doubt, his doggedness, his concentration on the truth of the motif, and his ...
... ideas are too fundamental, and contain too great a cultural loading, to be the invention of one man. So it was with ... idea of mastery.” He loved Cézanne's doubt, his doggedness, his concentration on the truth of the motif, and his ...
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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