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 10
... landscape that embodied, ready-made in nature, the frontality towards which his art was moving. The valley in which La Roche-Guyon stands is lined with tall chalk cliffs, greyish-white and sown with flints. The town is built between the ...
... landscape that embodied, ready-made in nature, the frontality towards which his art was moving. The valley in which La Roche-Guyon stands is lined with tall chalk cliffs, greyish-white and sown with flints. The town is built between the ...
Pagina 19
... landscape that could be contained on the top of a studio table. A painting like Still-Life (Fantomas), 1915 (plate 18), is a veritable anthology of his predilections: the calm shifts between opacity and transparency in the overlapping ...
... landscape that could be contained on the top of a studio table. A painting like Still-Life (Fantomas), 1915 (plate 18), is a veritable anthology of his predilections: the calm shifts between opacity and transparency in the overlapping ...
Pagina 19
... landscape of the modernist dream. It was an inward city, whose main product was reverie. Only one major Cubist wanted to make a public style of his work. He was Fernand Léger (1881—1955), and his work was a sustained confession of ...
... landscape of the modernist dream. It was an inward city, whose main product was reverie. Only one major Cubist wanted to make a public style of his work. He was Fernand Léger (1881—1955), and his work was a sustained confession of ...
Pagina 29
Je hebt de weergavelimiet voor dit boek bereikt.
Je hebt de weergavelimiet voor dit boek bereikt.
Pagina 30
Je hebt de weergavelimiet voor dit boek bereikt.
Je hebt de weergavelimiet voor dit boek bereikt.
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