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This illustrated, edited collection of essays brings together for the first time some of the pioneering art historian Linda Nochlin's most important writings on modernism and modernity from across her six-decade career. Before the publication of her seminal tract on feminism in art, 'Why Have There Been No Great Women Artists?', Nochlin had already firmly established herself as a major practitioner of a politically sophisticated and class-conscious social art history, with her writings on modernism being transformative to the discipline. Nochlin embraced Charles Baudelaire's conviction that modernity meant to be of one's time - and that the role of an art historian was to understand the art of the past not only in its own historical context, but according to the urgencies of the contemporary world. From academic debates about the nude in the 18th century to the work of Robert Gober in the 21st, whatever she turned her analytic eye to was very much conceived as the art of the now - the art we need to look at to navigate the complexities and contradictions of the present.
Art --- art [fine art] --- art history --- philosophy of art --- anno 1900-1999 --- anno 2000-2099 --- Modernism (Art) --- Modernism (Aesthetics) --- Aesthetics --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- art [discipline]
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This book explores how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of New York abstract painting. Providing readings of paintings by Krasner and examining images of Pollock and Frankenthaler at work, it builds a bridge between the New York artist-women and their other, Marilyn Monroe.
Sex role in art. --- Women artists --- Abstract expressionism --- Krasner, Lee, --- Clement Greenberg. --- Helen Frankenthaler. --- Jackson Pollock. --- Lee Krasner. --- Marilyn Monroe. --- New York. --- abstract expressionism. --- action painting. --- modernist art. --- women artists. --- New York (State)
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This title explores modernist aesthetics and cultural exchange in Britain, France and beyond. It offers cutting-edge explorations of different aspects of artistic exchange between Britain and France, written by experts on both sides of the Channel. It provides original close readings of canonical and marginalised modernist texts.
Modernism (Literature) --- Modernism (Art) --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Crepuscolarismo --- Literary movements --- History and criticism. --- Great Britain --- France --- Foreign relations --- English literature --- French literature --- Comparative literature --- English and French. --- French and English. --- Relations
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New Ways: The Founding of Modernism features the rise during the interwar period of a group of engineers, architects, sculptors, ceramicists, artists, furniture-makers, craftsmen and patrons to the forefront of British art and design. Important to the Founding of Modernism was the cooperation between a group of émigré architects and engineers, and their home-grown counterparts who, between them, found ways to bring into being the strict geometric and modernistic forms that were demanded by the Movement.In the 1920s, the technology of concrete casting was developing very rapidly as was that of steel reinforcement and new developments gave rise to greater possibilities for structures. Initially, expertise, and then the promotion of this new technology to architects and their clients, fell to a number of specialist overseas contracting companies. The early decades of the twentieth century in the UK saw, in place of an architect to contractor relationship, a rise of the new profession of consultant structural engineer. Up to this point, architects had fulfilled the role of both building designer and engineer.The British Modern Movement was profoundly influenced by this group of European émigréarchitects and engineers, some of whom remained in the UK thus ensuring that the Modern Movement re-emerged and continued in the UK once peace returned to Europe after WWII.Through an expert combination of words and illustrations, the author weaves an illuminating tapestry of people and structures in all sectors of life from residential to worship, media to entertainment, commerce and more thus creating a forceful appreciation of the movement.This fertile period of art, architecture and design was typified by a great commonality of purpose between designers, their clients and patrons. Buildings and artefacts were produced such that their designers might appreciate and wish them for their own use, especially in housebuilding and home-making. Friendships and associations by Modernists in allied professions presented a unified approach to design and patronage.
Architecture --- Architecture, Modern --- Modern movement (Architecture) --- Modernism (Art) --- Arts, Modern --- Modern arts --- Aesthetic movement (Art) --- Art, Modern --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- International style (Architecture) --- Modernism (Architecture) --- Modernist architecture --- 72.036 --- 72.036 <420> --- 72.036 <420> Moderne bouwkunst. Architectuur van de 20e eeuw--Engeland --- Moderne bouwkunst. Architectuur van de 20e eeuw--Engeland --- 72.036 Moderne bouwkunst. Architectuur van de 20e eeuw --- Moderne bouwkunst. Architectuur van de 20e eeuw
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"In the Eye of the Storm: Modernism in Ukraine, 1900–1930s presents the groundbreaking art produced in Ukraine in the early 20th century. The book accompanies an exhibition that traces Ukrainian artistic developments between 1900 and the 1930s in three key cultural centers― Kharkiv, Kyiv, and Odesa―against a complicated socio-political backdrop of collapsing empires, World War I, the Revolution of 1917, and the creation of Soviet Ukraine. Showcasing avant-garde art and the Ukrainian artists who made it, while acknowledging the complex geopolitical structures and identities within which it functioned, In the Eye of the Storm features works in various media, from traditional oil paintings and drawings to collages, graphic and theater designs, and cinema. Exploring the distinctive voice of Ukrainian artists in the early 20th century, this is a relevant and important publication that reveals Ukraine’s significant contribution to modern art."--
Modernism (Art) --- History --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- avant-garde. --- modernisme. --- Joodse kunst. --- futurisme. --- Bauhaus. --- Biënnale Venetië (1928) --- migratie. --- Nova heneratsii = New Generation (1927-1930). --- Exter, Alexandra Alexandrowna. --- Bohomazov, Oleksandr. --- Boichuk, Mykhailo. --- Yermilov, Vasyl. --- Kavaleridze, Ivan. --- Archipenko, Alexander. --- Delaunay-Terk, Sonia. --- Baranoff-Rossiné, Wladimir. --- 1900 - 1940. --- 20ste eeuw. --- Oekraïne. --- Parijs. --- History. --- Ukraine. --- avant-garde --- modernisme --- Joodse kunst --- futurisme --- Bauhaus --- migratie --- Nova heneratsii = New Generation (1927-1930) --- Exter, Alexandra Alexandrowna --- Bohomazov, Oleksandr --- Boichuk, Mykhailo --- Yermilov, Vasyl --- Kavaleridze, Ivan --- Archipenko, Alexander --- Delaunay-Terk, Sonia --- Baranoff-Rossiné, Wladimir --- 1900 - 1940 --- 20ste eeuw --- Oekraïne --- Parijs --- Art and society
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