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Introduction to the development, principles, and products of the Fauvist and Cubist movements in early 20th century painting. Sixty-four colored reproductions.
The most famous cubist is Pablo Picasso. But, his work isn’t the entirety of this fascinating art movement! Readers are introduced to Picasso as well as Juan Gris, Georges Braque, and others who shaped cubism in this fantastic volume. Guided by a friendly gallery owner, readers find out more about the difference between a gallery and a museum as they learn what exactly makes up cubism. Most importantly, they’re invited to create their own cubist-inspired masterpieces in a series of creative activities.
This is the first comprehensive scholarly bibliography/research guide/sourcebook on the major French Fauve painters (Henri Matisse and Georges Braque are treated in separate Greenwood bio-bibliographies). It includes information on 3,120 books and articles as well as chronologies, biographical sketches, and exhibition lists. Each artist receives a primary and secondary bibliography with many annotated entries. Secondary bibliographies include details about each artists' life and career, relationships with other artists, work in various media, iconography, and more. Designed for art historians, art students, museum and gallery curators, and art lovers alike, this volume organizes the vast literature surrounding this fascinating, revolutionary, 20th-century art group. Genuinely new art is always challenging, sometimes even shocking to those unprepared for it. In 1905, the paintings of Matisse, Derain, Vlaminck and their friends shocked conservative museum-goers; hence, the eventual popularity of art critic Louis Vauxcelles's tag les fauves, or wild beasts by which these artists became known. Although it lasted only three or four years, Fauvism is recognized as the first artistic revolution of international consequence in the 20th century. It was based on the glorification of pure saturated colors and the free expression of primitivism. It was a dynamic sensualism; an equilibrium of passion and order, fire and austerity that could not last. By the end of 1908, Fauvism collapsed in the face of Cubism, which, moreover, several Fauve artists helped to form.
Douglas Cooper,Los Angeles County Museum of Art,Metropolitan Museum of Art (New York, N.Y.)
Author : Douglas Cooper,Los Angeles County Museum of Art,Metropolitan Museum of Art (New York, N.Y.) Publisher : Metropolitan Museum of Art Page : 322 pages File Size : 51,9 Mb Release : 1971 Category : Art, Modern ISBN : 9780714814483
Author : Edward F. Fry Publisher : Oxford University Press, USA Page : 250 pages File Size : 40,7 Mb Release : 1978 Category : Art ISBN : MINN:31951001038152O
The book opens with a historical interpretion of the period when Cubism developed. This is followed by the writings in which Cubists and others explain the movement.
Born at the dawn of the 20th century, Fauvism burst onto the artistic scene at the 1905 Salon d'Automne with great controversy by throwing bright, vibrant colours in the face of artistic convention. Fuelled by change, artists like Matisse, Derain, and Vlaminck searched for a new chromatic language by using colour out of its habitual context. Freed from the strict technique advocated by the École des Beaux-Arts, they used blocky colours as their main resource, saturating their stunning paintings. The author invites us to experience this vivid artistic evolution that, although encompassing a short amount of time, left its mark on the path to modernity.
John Elderfield,Museum of Modern Art (New York, N.Y.),San Francisco Museum of Modern Art,Kimbell Art Museum
Author : John Elderfield,Museum of Modern Art (New York, N.Y.),San Francisco Museum of Modern Art,Kimbell Art Museum Publisher : Unknown Page : 176 pages File Size : 41,7 Mb Release : 1976 Category : Art ISBN : UOM:39015007563532
Art of the 20th Century by Karl Ruhrberg,Klaus Honnef,Manfred Schneckenburger,Christiane Fricke Pdf
The original edition of this ambitious reference was published in hardcover in 1998, in two oversize volumes (10x13"). This edition combines the two volumes into one; it's paperbound ("flexi-cover"--the paper has a plastic coating), smaller (8x10", and affordable for art book buyers with shallower pockets--none of whom should pass it by. The scope is encyclopedic: half the work (originally the first volume) is devoted to painting; the other half to sculpture, new media, and photography. Chapters are arranged thematically, and each page displays several examples (in color) of work under discussion. The final section, a lexicon of artists, includes a small bandw photo of each artist, as well as biographical information and details of work, writings, and exhibitions. Ruhrberg and the three other authors are veteran art historians, curators, and writers, as is editor Walther. c. Book News Inc.