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A trio of masterpieces by Gauguin, Cézanne, and Matisse are joined by works by other major artists in this exploration of the enduring vitality of the theme of Arcadia
This book provides a lively and stimulating introduction to methodological debates within art history. Offering a lucid account of approaches from Hegel to post-colonialism, the book provides a sense of art history's own history as a discipline from its emergence in the late-eighteenth century to contemporary debates.
Thirty illustrations based on works by major artists of the past five centuries include paintings by Pissarro, Renoir, van Gogh, Gauguin, Cézanne, Rousseau, Matisse, and other masters. Illustrations are printed on one side of perforated pages.
An unprecedented exploration of Gauguin's works in various media, from works on paper to clay and furniture Paul Gauguin (1848-1903) was a creative force above and beyond his legendary work as a painter. Surveying the full scope of his career-spanning experiments in different media and formats--clay, works on paper, wood, and paint, as well as furniture and decorative friezes--this volume delves into his enduring interest in craft and applied arts, reflecting on their significance to his creative process. Gauguin: Artist as Alchemist draws on extensive new research into the artist's working methods, presenting him as a consummate craftsman--one whose transmutations of the ordinary yielded new and remarkable forms. Beautifully designed and illustrated, this book includes essays by an international team of scholars who offer a rich analysis of Gauguin's oeuvre beyond painting. By embracing other art forms, which offered fewer dominant models to guide his work, Gauguin freed himself from the burden of artistic precedent. In turn, these groundbreaking creative forays, especially in ceramics, gave new direction to his paintings. The authors' insightful emphasis on craftsmanship deepens our understanding of Gauguin's considerable achievements as a painter, draftsman, sculptor, ceramist, and printmaker within the history of modern art.
John Milner examines Malevich's art of geometry by looking at its sources of inspiration, its methods and its meanings and, arguing persuasively that it is based on obsolete Russian units of measurement rather than the decimal system, has found a new interpretative tool with which to understand this pioneering art.
This magnificent book presents 64 of the finest paintings from the city of Glasgow's world-renowned collection of Impressionist and Post-Impressionist art.
This intriguing, wide-ranging investigation of Matisse's self-promotion, America's uneasy embrace of modernism, and America's consumer culture and politics provides a rich context to Clement Greenberg's words published in the Nation in 1947."Matisse's cold hedonism and ruthless exclusion of everything but the concrete, immediate sensation will in the future, once we are away from the present Zeitgeist, be better understood as the most profound mood of the first half of the twentieth century."
Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cézanne's painting. He shows how Cézanne's style met the emerging criteria of a "technique of originality" and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cézanne and his critics, Shiff considers the problem of modern art in general. He locates the core of modernism in a dialectic of making (technique) and finding (originality). Ultimately, Shiff provides not only clarifying accounts of impressionism and symbolism but of a modern classicism as well.
Highlighting interactions of colour, space, and creativity that take on ontological dimensions, Stewart's study will lead to ongoing reflections on the roles of colour and space in modernist texts.
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New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
William S. Paley, founder of CBS, Inc., and a towering figure in the modern entertainment, communication and news-dissemination industries, was also an enthusiastic collector of twentieth-century art and a committed supporter of The Museum of Modern Art. This volume presents his extraordinary personal collection of eighty-four paintings, sculptures, prints and drawings by some of the most important figures of modern art, including Paul Cézanne, André Derain, Paul Gauguin, Henri Matisse and Pablo Picasso, bequeathed to the Museum in one of the most significant transfers of a private collection to a public institution in recent history. Paley embraced modernism during a period when most collectors sought works by Old Masters, and he built his collection based on personal taste with little regard for art-world prestige. Aside from certain loans made to enhance exhibitions at MoMA, his collection rarely left the walls of his home and office and was seldom seem by the public until it was left to the William S. Paley Foundation for donation to the Museum. This richly illustrated volume, originally published in 1992 to accompany a series of traveling exhibitions organized by MoMA to bring this outstanding collection to venues around North America, presents each work on a full page accompanied by commentary from William Rubin, Director Emeritus of the Department of Painting and Sculpture, and Matthew Armstrong, former Curator in the Department of Painting and Sculpture.
Max Beckmann, Otto Dix, George Grosz, Emil Nolde, E.L. Kirchner, Paul Klee, Franz Marc as well as the Austrians Oskar Kokoschka and Egon Schiele were among the generation of highly individual artists who contributed to the vivid and often controversial new movement in early twentieth-century Germany and Austria: Expressionism. This publication introduces these artists and their work. The author, art historian Ashley Bassie, explains how Expressionist art led the way to a new, intense, evocative treatment of psychological, emotional and social themes in the early twentieth century. The book examines the developments of Expressionism and its key works, highlighting the often intensely subjective imagery and the aspirations and conflicts from which it emerged while focusing precisely on the artists of the movement.
In this acclaimed book, Torgovnick explores the obsessions, fears, and longings that have produced Western views of the primitive. Crossing an extraordinary range of fields (anthropology, psychology, literature, art, and popular culture),Gone Primitivewill engage not just specialists but anyone who has ever worn Native American jewelry, thrilled to Indiana Jones, or considered buying an African mask. "A superb book; and--in a way that goes beyond what being good as a book usually implies--it is a kind of gift to its own culture, a guide to the perplexed. It is lucid, usually fair, laced with a certain feminist mockery and animated by some surprising sympathies."--Arthur C. Danto, New York Times Book Review "An impassioned exploration of the deep waters beneath Western primitivism. . . . Torgovnick's readings are deliberately, rewardingly provocative."--Scott L. Malcomson,Voice Literary Supplement
Ed : Brooklyn College and City University of New York, Revised edition, Includesnew texts, introduction, biography, overview.
The wealthy Moscow merchants Sergei Shchukin and Ivan Morozov were responsible for bringing a remarkable group of impressionist and postimpressionist French paintings to Russia, among them an exemplary collection of the works of Henri Matisse. Relying on his sensibility and self-confidence, Shchukin confronted a Russian society that ridiculed his eccentricities, and from 1908 to 1914 he assembled an exceptional collection of Matisse's works - thirty-seven paintings - with which he decorated his house in Moscow. Morozov was equally appreciative of the painter and, although a more modest collector, acquired eleven canvases. Between them, these two men made Russia the first foreign country to import Matisse's works. Collecting Matisse provides a fresh interpretation of a crucial period in the artist's career - the early years of Fauvism, when he decisively turned toward color as the essential element of painting - and one that radically marked the development of modern art as a whole. Matisse's work was known in Russia as early as 1904, and Shchukin's commission for the great decorative panels La Danse and La Musique revolutionized the Moscow art world. A penetrating text and previously unpublished archival material make this book an essential study on Matisse and his 1911 visit to Russia, where he discovered with fascination Russian icons, tasted the delights of the salons, and unleashed the commentaries of a hostile press, which are included here in large extracts. The following year, Matisse left for Tangier and there produced a stunning series of canvases, which the two Russian collectors acquired with enthusiasm. The correspondence published here for the first time, bears eloquenttestimony to the ties of friendship and admiration that united painter and collectors. The beautiful illustrations and rare period photographs of the Shchukin and Morozov mansions and collections complement the impressions Matisse gathered in the Russian capital and demonstrate their importance for the evolution of his art.
Best known for his documentaries such as Drifters, North Sea, and Housing Problems, John Grierson was the most important figure in the British documentary film movement and one of the most influential of British film theorists. This major assessment of Grierson and the documentary film movement examines the intellectual and aesthetic influences on his work, focusing on the material he produced in the inter-war years and comparing the idealistic strain of Grierson’s social commentary with other social reformists such as the Next Five Years Group and writers like Orwell and Priestley. Underlining the link between film and reform, the book clarifies the meaning and significance of Grierson’s ideas and the historical role of the documentary film movement. Originally published in 1990.
When young Pablo Picasso arrived in Paris in October 1900 he made his way up the hillside of Montmartre . . . The real revolution in the arts first took place not, as is commonly supposed, in the 1920s to the accompaniment of the Charleston, black jazz and mint juleps but more quietly and intimately, in the shadow of the windmills - artificial and real - and in the cafes and cabarets of Montmartre during the first decade of the century. The cross-fertilization of painting, writing, music and dance produced a panorama of activity characterized by the early works of Picasso, Braque, Matisse, Derain, Vlaminck and Modigliani, the appearance of the Ballet Russe and the salons of Gertrude Stein. In In Montmartre, Sue Roe vividly brings to life the bohemian world of art in Paris between 1900-1910.
Thirty compositions give would-be artists of all ages a chance to re-create ? or even transform ? works by Pissarro, Renoir, van Gogh, Gauguin, Cézanne, Rousseau, Matisse, and other masters.
Focusing on one of the lesser known Expressionist artists of the Blue Rider movement, this richly illustrated book presents the colorful paintings of Alexei Jawlensky. Alexei Jawlensky (1864-1941) was Russian, but lived in Germany much of his life and obtained German citizenship in 1934. He was a friend of Vasily Kandinsky, who he met in Munich when studying painting with Anton Azb�, and had close ties to the German Expressionist artists. This book illustrates how the artist was influenced, apart from the German Expressionists, by the art of Vincent van Gogh, Paul Gauguin, Paul C�zanne, Henri Matisse and the Fauves, and by Ferdinand Hodler. The book presents the chronological and thematic development of Jawlensky's art from early figure painting to landscapes and from still lives to the late iconic portraits and fascinating meditations.

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