Art History by
This self-contained compendium of art history requires no prior knowledge. It covers the Western tradition from Neolithic painted caves to contemporary artists, as well as other artistic cultures. Controversial issues are dealt with, and there are sections on techniques and a 900-entry glossary.
Atlas of Western Art History by
This is a visual companion to the many narrative histories of art. Using colour reproductions, maps and other illustrations, it illuminates all the movements, trends and artists that have infludenced Western artistic tradition for more than 2000 years.
Gardner's Art Through the Ages by
Covers: the ancient world, the middle ages, the world beyond Europe, the renaissance and the baroque and rococo, the modern and postmodern world.
Contents
10th ed.-1996 2 volume set: v. 1 -- Ancient, Medieval, and non-European art -- v. 2 -- Renaissance and modern art.
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The Arrest of Christ (Kiss of Judas), Giotto, c.1305-1306, tempera |
Date: 500-1400 CE Locations: Great Britain, France, Italy, Germany, Spain Historical Events: Fall of the Roman Empire (476); Viking Raids (793–1066); Battle of Hastings (1066); Crusades I–IV (1095–1204); Black Death (1347–1351); Hundred Years’ War (1337–1453) Characteristics: biblical subjects and classical mythology; darkness Artists: St. Sernin, Durham Cathedral, Notre Dame, Chartres, Cimabue, Duccio, Giotto Search Terms: Celtic art, Carolingian, Byzantine, Islamic painting, Romanesque, Gothic; illuminated manuscripts Call Numbers:
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Medieval Art by
An overview focussing on church buildings and the works they contain, shows the continuity and evolution of art styles from the early Christian to the late gothic period. Nearly 700 very good illustrations, 73 in color. The text draws heavily from primary sources to provide background and contempora
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"Primavera," (1477-82) Sandro Botticelli, Uffizi |
Early Renaissance (1400-1450) High Renaissance (1480-1520) Location: Italy Historical Events: Gutenberg invents movable type (1447); Turks conquer Constantinople (1453); Columbus lands in the Americas (1492); Martin Luther starts the Reformation (1517) Characteristics: Rebirth of classical culture (Greek, Roman) Artists: Brunelleschi, Donatello, Botticelli, da Vinci, Raphael, Michelangelo Call Numbers:
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Renaissance Art: a Very Short Introduction by
Botticelli, Holbein, Leonardo, Durer, Michelangelo: the names are familiar, as are the works, such as the Last Supper fresco, or the monumental marble statue of David. But who were these artists, why did they produce such memorable images, and how would their original beholders have viewedthese objects? Was the Renaissance only about great masters and masterpieces, or were "mistresses" also involved, such as women artists and patrons? And what about the 'minor'-pieces that Renaissance men and women would have encountered in homes, churches and civic spaces? This exciting andstimulating volume will answer such questions by considering both famous and lesser-known artists, patrons and works of art within the cultural and historical context of Renaissance Europe.
Making Renaissance Art by
This book explores key themes in the making of Renaissance painting, sculpture, architecture, and prints: the use of specific techniques and materials, theory and practice, change and continuity in artistic procedures, conventions and values. It also reconsiders the importance of mathematical perspective, the assimilation of the antique revival, and the illusion of life. Embracing the full significance of Renaissance art requires understanding how it was made. As manifestations of technical expertise and tradition as much as innovation, artworks of this period reveal highly complex creative processes--allowing us an inside view on the vexed issue of the notion of a renaissance.
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Date: 1430-1580 Locations: France, Germany, Switzerland, Austria, England Historical Events: Gutenberg invents movable type (1447); Martin Luther starts the Protestant Reformation (1517); Council of Trent and Counter Reformation (1545-1563) Characteristics: The Renaissance spreads northward; Rather than draw upon Classical Greek and Roman aesthetics, Northern artists retained a Gothic sensibility; noted for somber moods and darker psychological undertones; Humanism Artists: Jan van Eyck, Albrecht Dürer, Hans Holbein, Hieronymus Bosch, Pieter Bruegel the Elder, Jean Fouquet |
Art of the Northern Renaissance by
In this lucid account, Stephanie Porras charts the fascinating story of art in northern Europe during the Renaissance period (ca. 1400-1570). She explains how artists and patrons from the regions north of the Alps - the Low Countries, France, England, Germany - responded to an era of rapid political, social, economic, and religious change, while redefining the status of art. Porras discusses not only paintings by artists from Jan van Eyck to Pieter Bruegel the Elder, but also sculpture, architecture, prints, metalwork, embroidery, tapestry, and armor. Each chapter presents works from a roughly 20-year period and also focuses on a broad thematic issue, such as the flourishing of the print industry or the mobility of Northern artists and artworks. The author traces the influence of aristocratic courts as centers of artistic production and the rise of an urban merchant class, leading to the creation of new consumers and new art products. This book offers a richly illustrated narrative that allows readers to understand the progression, variety, and key conceptual developments of Northern Renaissance art.
The Renaissance in the North by
Art from the Met (NY).
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"Christ healing the blind" (1570) El Greco, oil on canvas, The Met |
Date: 1520-1600 Locations: Italy Historical Events: Magellan circumnavigates the globe (1520–1522) Characteristics: Art that breaks the rules; artifice over nature; sometimes referred to as late Renaissance Artists: Visari, Salviati, Beccafumi, Tintoretto, El Greco, Pontormo, Bronzino, Cellini |
Painting in Italy by
This book is an account of painting in Italy during the period of the High and the Late Renaissance, the period which included the most remarkable concentration of accomplishments in the artistic history of Italy. No other time and place can offer a roster like the Cinquecento: Leonardo, Michelangelo, Raphael, Giorgione, Titian, and Correggio are the exalted luminaries in the constellation, and around them there is company of the magnitude of Sarto, Rosso, Pontormo, Bronzino, Parmigianino, Lotto, Tintoretto, and Veronese, to mention only some. The diversity of achievement of the painters is as remarkable as its quality; probably no earlier period offers so complex a picture of self-conscious differences of artistic style, in which an ethical attitude is often a major factor within an aesthetic one. The author delineates the painters' individualities and characterizes their important works. At the same time, however, he relates these individual events to categories and patterns that appear to a more general view of Cinquecento art. In ten carefully interwoven chapters he discusses the history of the classical style of the High Renaissance in the earlier decades of the century, the rise, spread, and eventual adulteration of the Mannerist style, and the events, in Venice and North Italy especially, that resist generalization and help make up the whole rich historical texture that is called the Late Renaissance. -- Inside jacket flap.
Tintoretto by
Jacopo Tintoretto (1518-94) is an ambiguous figure in the history of art. His radically unorthodox paintings are not readily classifiable, and although he was a Venetian by birth, his standing as a member of the Venetian school is constantly contested. But he was also a formidable maverick, abandoning the humanist narratives and sensuous color palette typical of the great Venetian master, Titian, in favor of a renewed concentration on core Christian subjects painted in a rough and abbreviated chiaroscuro style. This generously illustrated book offers an extensive analysis of Tintoretto's greatest paintings, charting his life and work in the context of Venetian art and the culture of the Cinquecento. Tom Nichols shows that Tintoretto was an extraordinarily innovative artist who created a new manner of painting, which, for all of its originality and sophistication, was still able to appeal to the shared emotions of the widest possible audience. This compact, pocket edition features sixteen additional illustrations and a new afterword by the author, and it will continue to be one of the definitive treatments of this once grossly overlooked master.
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"The adolescent Bacchus," (1595-1597) Caravaggio Merisi, oil on canvas, Uffizi |
Date: 1600-1750 CE Locations: France, Italy, Netherlands Historical Events: Thirty Years’ War between Catholics and Protestants (1618–1648) Characteristics: Splendor and flourish for God; art as a weapon in the religious wars; ornate; grandeur; contrast of light and rich color palettes Artists: Artemesia Gentileschi, Velazquez, Reubens, Rembrandt, Caravaggio, Rembrandt van Rijn, Vermeer Search Terms: Dutch Golden Age; Flemish Baroque painting; Caravaggisti Call Number:
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Baroque Art by
The Baroque period lasted from the beginning of the seventeenth century to the middle of the eighteenth century. Rich in images encompassing the arts of painting, sculpture and architecture, this work offers a complete and didactic insight into this passionate period in the history of art, and will thus appeal to a large audience
Baroque, 1620-1800 by
Taking examples from all media and genres, this comprehensive book, now available in paperback, explores this emotionally powerful and geographically pervasive style, tracing its development from Rome, centre of papal and princely power. Carefully selected and rarely seen objects from public and private collections illustrate traditions of ornament, performance and visual art, while stunning spreads examine how churches and palaces became showcases for the pomp and splendour of Baroque art.
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"The blue boy," (1770) Thomas Gainsborough, oil on canvas, Huntington Museum and Library (CA, USA) |
Date: 1770-1775 Locations: France, northern Italy, southern Germany, Britain, Russia Historical Events: Reign of Louis XV of France (1723-1759) Characteristics: lightness and elegance; softer style of decorative art compared to the exuberance of Baroque; floral designs and use of gilt; exceptionally ornamental Differences between Baroque and Rococo: Partial abandonment of symmetry, composition of graceful lines and asymmetrical curves; Chinese and Japanese motifs; warm pastels Artists: Boucher, Watteau, Gainsborough, Jean-Baptiste Pater; Nicolas Lancret, van Loo family, Giovanni Tiepolo,
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Rococo by
Deriving from the French word rocaille, in reference to the curved forms of shellfish, and the Italian barocco, the French created the term Rococo. Appearing at the beginning of the 18th century, it rapidly spread to the whole of Europe. Extravagant and light, Rococo responded perfectly to the offhandedness of the aristocracy of the time. In many aspects, this art was linked to its Baroque predecessor, and is thus also referred to as late Baroque style. While artists such as Tiepolo, Boucher and Reynolds carried the style to its apogee, the movement was often condemned for its superficiality. In the second half of the 18th century, Rococo began its decline. At the end of the century, facing the advent of Neoclassicism, it was plunged into obscurity. It had to wait nearly a century before art historians could restore it to the radiance of its golden age, which is rediscovered in this work by Klaus H. Carl and Victoria Charles.
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The Death of Marat, Jacques-Louis David, 1793, oil on canvas |
Date: 1750-1850 Locations: France Historical Events: Enlightenment (18th century); Industrial Revolution (1760–1850) Characteristics: Art that recaptures Greco-Roman grace and grandeur; renewed interest in the classical ideals of harmony, simplicity, and proportion Artists: David, Ingres, Greuze, Canova
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Jacques-Louis David, Revolutionary Artist by
The lifetime of Jacques-Louis David (1748-1825) coincides with the most tumultuous period in the history of France and much of the Western world. And David's life was closely bound up with the changes that were taking place in French politics, society, and culture. Although most other scholars have focused either on David's artistic activity or on his political career, Warren Roberts examines the connections between these two aspects of his life. Using a historical approach, Roberts provides an interpretation of David's art that illuminates David the man. Roberts presents David's art as a personal record that is an extension of his inner life and a product of historical conditions. David's art, like his character and his actions, cannot be fully understood without understanding the changes that led to and then flowed from the French Revolution. Roberts here considers these changes and their impact on David from the perspectives of the historian and the art historian, and he comes to conclusions that are important for both.
Ingres Then and Now by
Ingres Then, and Nowis an innovative study of one of the best-known French artists of the nineteenth century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' work in the context of a variety of literary, musical and visual cultures which are normally seen as alien to him. Re-viewing Ingres' paintings as a series of fragmentary symptoms of the commodity cultures of nineteenth-century Paris, Adrian Rifkin draws the artist away from his familiar association with the Academy and the Salon. Rifkin sets out to show how, by thinking of the historical archive as a form of the unconscious, we can renew our understanding of nineteenth-century conservative or academic cultures by reading them against their 'other'. He situates Ingres in the world of the Parisian Arcades, as represented by Walter Benjamin, and examines the effect of this juxtaposition on how we think of Benjamin himself, following Ingres' image in popular cultures of the twentieth century. Rifkin then returns to the late eighteenth and early nineteenth centuries to find traces of the emergence of bizarre symptoms in Ingres' early work, symptoms which open him to a variety of conflicting readings and appropriations. It concludes by examining his importance for the great French art critic Jean Cassou on the one hand, and in making a bold, contemporary gay appropriation on the other. Ingres Then, and Nowtransforms the popular image we have of Ingres. It argues that the figure of the artist is neither fixed in time or place - there is neither an essential man named Ingres, nor a singular body of his work - but is an effect of many, complex and overlapping historical effects.turns to the late eighteenth and early nineteenth centuries to find traces of the emergence of bizarre symptoms in Ingres' early work, symptoms which open him to a variety of conflicting readings and appropriations. It concludes by examining his importance for the great French art critic Jean Cassou on the one hand, and in making a bold, contemporary gay appropriation on the other. Ingres Then, and Nowtransforms the popular image we have of Ingres. It argues that the figure of the artist is neither fixed in time or place - there is neither an essential man named Ingres, nor a singular body of his work - but is an effect of many, complex and overlapping historical effects.
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Wanderer above the Sea of Fog, Caspar David Friedrich, 1818, oil on canvas |
Date: 1780-1850 Locations: Great Britain, Spain, France Historical Events: American Revolution (1775–1783); French Revolution (1789–1799); Napoleon crowned emperor of France (1803) Characteristics: The triumph of imagination and individuality; emotion Artists: Caspar Friedrich, Gericault, Delacroix, Turner, Benjamin West, Goya, Blake, Fuseli Search Terms: Nazaraene movement; Purismo; Dusseldorf school; Hudson River school; Luminism |
Romanticism by
This book highlights how this movement was a true European art movement. Not only did it penetrate painting all across Europe but it also influenced literature and music. Our AC Romanticism sheds light on the internationality of this art movement and helps the reader get acquainted with the major players of this fascinating movement
Goya by
The greatest artist of the 18th century, Francisco de Goya began his career as an apprentice to a local artist where one of his jobs was adding draperies and modesty items to nude figures in religious paintings; for this he was titled "Reviser of Indecent Paintings." But by the age of 40, Goya had established himself as a leading Spanish artist. Goya simultaneously pursued a number of disparate projects, commissions he received from prestigious churches and royalty, as well as producing several lengthy series of lithographs to express his dislike of numerous subjects, notably Spanish high society and war. Brushing into controversy on several occasions, Goya threaded the political needle of alternating French and Spanish rule of his home country of Spain as well as successfully navigated the choppy waters of the Spanish Inquisition when it questioned the morality of La Maja Desnuda, one of his most famous paintings.
 The Gleaners, Jean-François Millet, 1857, oil on canvas |
Date: 1840-1880 Locations: Germany, France, USA Historical Events: European democratic revolutions of 1848; Westward expansion of the Unites States, California Gold Rush (1849) Characteristics: Celebrating working class and peasants; en plein air, rustic painting; detailed depiction of everyday life Artists: Corot, Courbet, Daumier, Millet, Rossetti, Millais, Tarbell, Sloan, Luks Search Terms: Hudson River School, Pre-Raphaelites, The Ten, Ashcan School |
Truth and Beauty : the Pre-Raphaelites and the old masters by
This dazzling book examines the inspiration behind the work of the Pre-Raphaelites and offers comparisons between the radical 19th-century artists and the masterworks they revered. Started in the early 19th century by a group of British painters who rejected the sovereignty of the Royal Academy, the Pre-Raphaelites embraced the natural world and bright colors--as opposed to the dark palettes and amorphous lines that emerged in the wake of the Renaissance. Their mission was to be fundamentally modern by emulating the past. Now readers can appreciate their achievements in this volume that offers side-by-side comparisons of 19th-century masterpieces with the 15th- and 16th-century Early Italian and Early Netherlandish paintings that inspired them. Exquisite reproductions of works by Giotto, Fra Angelico, van Eyck, Botticelli, Titian, Veronese, and Raphael are presented alongside examples by William Holman Hunt, Dante Gabriel Rossetti, John Everett Millais, and others. The book traces the evolution of the Pre-Raphaelites, and details how these painters were exposed to the early masters as they traveled and encountered the finest European collections. The volume also features decorative arts, including stained glass and tapestries in emulation of Flemish and French textiles as well as "medievalized" ecclesiastic decorations. The result is an illuminating examination that delves into the Pre-Raphaelites' aesthetic vocabulary and broadens our understanding of their motives and inspiration. Published in association with the Fine Arts Museums of San Francisco
The Hudson River School by
During a fifty-year period, an artistic movement developed in America that was based on Romanticism and inspired by the wild areas in the vicinity of New York's Hudson River. The first native American school of landscape painting included artists Thomas Cole, Asher Brown Durand, and Thomas Doughty as well as Frederic Church, Thomas Moran, and Albert Bierstadt. While most of these artists did not think of themselves as belonging to a movement, they did share a sense of wonder at the grandeur of the New World's remarkable scenic wilderness. In the American Artist series, you'll read about more masters of the art world who not only depicted American life and landscape through beautiful works but also broadened our perspectives by employing the tools of their trade with the highest levels of creativity and insight. Experience firsthand these artists' vision and influence through the seventy or more spectacular, full-color reproductions of their work. Each title in this series includes color photos throughout, and back matter including: an index and further reading lists for books and internet resources. Educational Videos are offered in the back through the use of QR codes, that, when scanned, takes the student to an online video showing a video relating to the book topic. This gives the readers additional content to supplement the text.
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Woman with a Parasol - Madame Monet and Her Son, Claude Monet, 1875, oil on canvas, National Gallery of Art, USA |
Date: 1860-1890 Locations: France, Britain, USA Historical Events: Franco-Prussian War (1870–1871); Unification of Germany (1871) Characteristics: Capturing fleeting effects of natural light Artists: Monet, Manet, Renoir, Pissarro, Cassatt, Morisot, Degas Search Terms: "en plein air", neo-impressionism (pointillism) |
Impressionism by
Just before his death, Claude Monet wrote: "I'm still sorry to have been the cause of the name given to this group, most of whom were not in the least bit impressionistic". Starting with this paradox - an ensemble that saw itself as a coherent group, while affirming artistic individuality as the ultimate goal - the author, Nathalia Brodskaïa, explores the contradictions of late nineteenth-century art. Was it not Manet who evoked the definitive formula: "I paint what I see and not what others want to see" ? There would be a long way to go before the world recognised the difference between traditional, academic art and the birth of modern, non-figurative painting. After analysing the essential elements of the Impressionist movement, Nathalia Brodskaïa pursues, across the oeuvre of each of the main players, the search for "that conviction they had, of justice in their principles and value in their art". From this assertion of difference, modern painting was born.
Impressionism by
A book on Impressionism, the name given to the major artistic phenomenon of the 19th century, and the first of the Modern Movements. Contents
Impressionism / Pierre Courthion -- Graphic works -- Notes -- Chronology of events and exhibitions -- Colorplates -- Snow at Louveciennes / Alfred Sisley -- Interior at Petworth ; Rain, steam, and speed / Joseph Mallord William Turner -- Sky and trees / John Constable -- The bridge at Narni / Jean-Baptiste-Camille Corot -- The water Parterre at Versailles / Richard Parkes Bonington -- The sea from the heights of Dieppe / Eugène Delacroix -- Les Demoiselles des bords de la Seine / Gustave Courbet -- Rue Saint-Jacques in Paris / Johan Barthold Jongkind -- Bathers on the beach at Trouville ; Twilight over the basin of Le Havre / Eugène Boudin -- The Pont de l'Estacade in Paris / Stanislas Lépine -- Sunday at the Saint-Siméon farm (La Cueillette des pommes) / Félix Cals -- Old Battersea Bridge : nocturne, blue and gold / James Abbott McNeill Whistler -- Lola de Valence ; Olympia ; Argenteuil / Édouard Manet -- Croquet scene / Winslow Homer -- Impression, sunrise ; The basin at Argenteuil ; Rue Montorgueil decked with flags / Waterlily pool / Claude Monet -- Orchard with flowering fruit trees, springtime, Pontoise ; Ile Lacroix, Rouen, effect of fog ; Place du Théâtre Français, Paris ; Fenaison à Eragny (Haymaking at Eragny) / Camille Pissarro -- A modern Olympia ; The bridge at Maincy ; Village of Gardanne ; Boy in a red vest / Paul Cézanne -- Sunset at Ivry ; Tavern at Bercy on the Seine / Armand Guillaumin -- Woman with chrysanthemums ; Women on the terrace of a café ; L'Etoile / Edgar Degas -- La Loge ; Dancing at the Moulin de la Galette ; La Fin du Déjeuner ; La Toilette (Grande Baigneuse aux jambes croisées) / Pierre-Auguste Renoir -- Louveciennes, heights of Marly ; Boat races at Molesey / Alfred Sisley -- The balcony ; Eugène Manet on the Isle of Wight ; Young woman in a party dress / Berthe Morisot -- The daughter of Alexander Cassatt / Mary Cassatt -- Scène d'Eté / Frédéric Bazille -- The "Oude Vinck" restaurant in Leyden / Max Liebermann -- The beach at Dieppe / Paul Gauguin -- Fourteenth of July in Paris ; The starry night / Vincent Van Gogh -- The watering can ; Bathing at Asnières (Une Baignade) ; The canoe ; A Sunday afternoon on the Island of La Grande Jatte / Georges Seurat -- Man and woman in the street / Charles Angrand -- Riverbank in winter / Albert Dubois-Pillet -- Les Iles d'Or / Henri-Edmond Cross [Delacroix] -- View of the Seine toward the Pont Neuf / Maximilien Luce -- Boulevard de Clichy in Paris / Paul Signac -- Vegetable market / Louis Hayet -- Ponte della Paglia / Maurice Prendergast -- Dining room in the country / Pierre Bonnard.
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"Country road by night in Provence," (1890) Vincent Van Gogh, Oil on canvas, Kroller Muller Museum, NE |
Date: 1885-1910 Locations: France Historical Events: Belle Époque (late-19th-century Golden Age); Japan defeats Russia (1905) Characteristics: A soft revolt against Impressionism; personal, subjective, and symbolic visions of the world rather than direct observation Artists: Van Gogh, Gauguin, Cézanne, Seurat, Toulouse-Lautrec |
Post-Impressionism by
Whilst Impressionism marked the first steps toward modern painting by revolutionising an artistic medium stifled by academic conventions, Post-Impressionism, even more revolutionary, completely liberated colour and opened it to new, unknown horizons. Anchored in his epoch, relying on the new chromatic studies of Michel Eugene Chevreul, Georges Seurat transcribed the chemist s theory of colours into tiny points that created an entire image. With his heavy strokes, Van Gogh illustrated the midday sun, whilst Cezanne renounced perspective. Rich in its variety and in the singularity of its artists, Post-Impressionism was a passage taken by all the well-known figures of 20th century painting - it is here presented, for the great pleasure of the reader, by Nathalia Brodskaia."
Van Gogh. the Complete Paintings by
Today, the works of Vincent van Gogh (1853-1890) are among the most well known and celebrated in the world. In paintings such as Sunflowers, The Starry Night, and Self-Portrait with Bandaged Ear, we recognize an artist uniquely dexterous in the representation of texture and mood, light and place. Yet in his lifetime, van Gogh battled not only the disinterest of his contemporary audience but also devastating bouts of mental illness. His episodes of depression and anxiety would eventually claim his life, when, in 1890, he committed suicide shortly after his 37th birthday. This comprehensive study of Vincent van Gogh offers a complete catalogue of his 871 paintings, alongside writings and essays, charting the life and work of a master who continues to tower over art to this day.
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Judith and the Head of Holofernes, Gustav Klimt, 1901, oil on canvas |
Date: 1890-1910 Locations: Czech Republic, Austria, France, Spain Characteristics: Organic ornamentation, long lines and curves Artists: Gustav Klimt, Anotoni Gaudi, Alphonse Mucha Search Terms: Vienna Secession, Mir iskusstva, Jugendstil, Modernisme (Spain) |
Art Nouveau by
Ever since its triumph at the Paris Universal Exposition, Art Nouveau has continued to inspire artists. The movement offered an artistic response to the industrial revolution and the creative vacuum left in its wake, exerting a huge impact on the decorative arts. Art Nouveau spans all forms of expression including design, painting and architecture and covers artists such as Gustav Klimt, Koloman Moser, Antoni Gaudi, Jan Toorop, and William Morris."
Alphonse Mucha by
Entre courbes et contre-courbes, Mucha créa, à la fin du XIXe siècle, une égérie nouvelle qui devait hanter les rues de Paris. Au fil des représentations de Sarah Bernhard, cette muse voluptueuse devint un véritable emblème de l'Art nouveau et offrit à l'affichiste succès et renommée.Néanmoins, le talent de l'artiste ne se limita jamais à la lithographie. Nourri par cette passion d'exalter, au mieux, la sensualité du monde qui l'entourait, l'art de Mucha, s'exprima indifféremment tant sur les monumentaux panneaux décoratifs des salles à manger que sur les petites pièces délicates de porcelaine. C'est toute la richesse et la variété de cet artiste fin-de-siècle que nous fait redécouvrir ici l'auteur.
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Portrait of Madame Matisse (The Green Stripe), Henri Matisse, 1906, oil on canvas |
Date: 1905-1910 Locations: France Historical Events: Boxer Rebellion in China (1900) Characteristics: Use of bold, non-natural colors (often applied directly to the canvas from the tube), and loose dabs of paint. Subject forms are simplified appearing abstract. Flat composition. Built off the works of van Gogh and Seraut. Artist keywords: Matisse, Derain, Rouault, de Vlaminck, Braque, Dufy |
The Fauves by
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 Ecole 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."
The Fauve Landscape by
This text is devoted to the colourful landscapes produced during the Fauvist period of 1904-1908. An essay on the emergence of the Fauve landscape is followed by four essays devoted to individual sites and such topics as Fauvism's impact on tourism and politics. Another essay concentrates on the critical landscape, in essence the critics' reception of these paintings. Matisse, Braque, Derain, Vlaminck, Dufy, Marquet, Manguin and Friesz are represented with examples of their works.
Contents
Foreword / Earl A. Powell III -- Surveying the terrain : the Fauves and the landscape / Judi Freeman -- Documentary chronology : 1904-1908 / Judi Freeman -- New lessons from the School of Chatou : Derain and Vlaminck in the Paris suburbs / John Klein -- Painters and tourists : Matisse and Derain on the Mediterranean shore / James D. Herbert -- Far from the earth of France : the Fauves abroad / Judi Freeman -- The distant cousins in Normandy : Braque, Dufy, and Friesz / Alvin Martin and Judi Freeman -- Fauves in the landscape of criticism : metaphor and scandal at the Salon / Roger Benjamin.
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The Scream, Edvard Munch, 1893, oil, tempura, pastel and crayon, National Gallery, Oslo |
Date: 1905-1920 Locations: Historical Events: World War I (1914-1918); Russian Revolution (1917) Characteristics: Distortion of form, strong use of color; emerged as a response to conflicting world views and the loss of spirituality; use of distortion of form and strong colors to convey emotions and anxieties; quest for authenticity beyond Western art heavily influenced by "tribal art." Artists: Edvard Munch, Wassily Kandinsky, Egon Shiele; Emil Nolde, Kirchner, Gros, Otto Dix Search Terms: Die Brucke; Der Blaude Reiter; Neue Sachlichkeit |
Edvard Munch by
A remarkable examinationof Edvard Munch's prints,which were central tohis creative processand established hisreputation as an artist. Edvard Munch (1863-1944), one of the most famous expressionist artists, is best known for The Scream. However, this was just one of the many haunting depictions of raw human emotion, which he fully developed in highly sophisticated prints. Munch's youth was marked by sickness and poverty, and his early works centered around the expression of deep emotional experiences, specifically the deaths of his mother and teenage sister, as well as passionate yet unhappy love affairs of which his deeply religious father disapproved. Experimental and innovative, the style that Munch developed was a radical deviation from the nature of the society portraits and grand Scandinavian landscapes then in vogue. Continually revisiting the subjects of his paintings, Munch evoked a wide range of emotion and mood in his prints and strikingly large lithographs, partly by using an innovative jigsaw technique in his woodcuts that produced a wide variety of color and tone. Featuring an interview with Norwegian writer Karl Ove Knausgaard, Edvard Munch: love and angst, published 75 years after the artist's death, will shed light on the imagery and production of some of Munch's most intriguing, often overlooked prints.
Expressionism by
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 exam
Contents
Contents; WHAT IS EXPRESSIONISM?; "GERMAN" ART?; Expressionism's Origins and Sources; THE BODY AND NATURE; THE SELF AND THE PSYCHE; THE METROPOLIS AND MODERNITY; VISION AND THE SPIRIT; WAR AND REVOLUTION; THE END OF EXPRESSIONISM?; MAJOR ARTISTS; MAX BECKMANN (1884 Leipzig - 1950 New York); OTTO DIX (1891 Untermhaus bei Gera - 1969 Singen); GEORGE GROSZ (1893 Berlin - 1959 Berlin); WASSILY KANDINSKY (1866 Moscow - 1944 Neuilly-sur-Seine); E.L. KIRCHNER (1880 Aschaffenburg - 1938 Frauenkirch); PAUL KLEE (1879 nr. Berne - 1940 Muralto)
OSKAR KOKOSCHKA (1886 Pöchlarn an der Donau - 1980 Montreux)FRANZ MARC (1880 Munich - 1916 Verdun); EMIL NOLDE (1867 Nolde-1956 Seebüll); EGON SCHIELE (1890 Tulln - 1918 Vienna); Bibliography; Index
Kandinsky by
Wassily Kandinsky (1866-1944) was a Russian painter credited as being among the first to truly venture into abstract art. He persisted in expressing his internal world of abstraction despite negative criticism from his peers. He veered away from painting that could be viewed as representational in order to express his emotions, leading to his unique use of colour and form. Although his works received heavy censure at the time, in later years they would become greatly influential.
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Les Demoiselles d'Avignon, Pablo Picasso, 1907, oil on canvas |
Date: 1907- 1920s Locations: France Historical Events: ; World War I (1914-1918); Russian Revolution (1917); Suffrage of American women (1920) Characteristics: Abstract, flat, two-dimensional surfaces; geometric forms, contrasting vantage points; rejection of the concept that art should copy nature; moved away from traditional techniques and perspectives creating fragmentation and abstraction Artists: Picasso, Braque, Delaunay, Gris, Metzinger, Gleizes, Leger Search Terms: Section d'OR |
Cubists and Cubism by
Into the Cubist revolution 1906-1908. From Czanne and fauvism to cubism ; Seeing as conditoned by nature and culture ; Fauvis, the radical stage of modernism ; Ingres' "Turkish Bath" at the crossroads between Matisse and Picasso ; Picasso's meeting with the avant-garde ; Emulation: Derain, Matisse, Pacasso and the "Demoiselles d'Avignon" ; An initial statement of cubism: the "Nude with drapery" ; Solitude of Picasso ; Arrival of Braque -- The period of high cubism partnership of Braque and Picasso 1908-1912. The fragmentation of surfaces ; Advances of Picasso, insights of Braque ; New departure at Cadaqués ; Around Apollinaire and Max Jacob ; Encounters at Céret -- The cubist explosion and scandals in Paris 1911-1914. The revelation of cubism ; Cubist circles in Paris ; The revelation of the 1911 Salon des Indépendants ; Cubism consolidates its positions ; The futurists in Paris ; The 1912 Salon des Indépendants ; The scandal of the 1912 Salon d'Automne ; The Section d'Or and the break-up of the cubist school ; Mondrian in paris ; First writings on cubism -- The second revolution of Braque and Picasso 1912-1914. The discovery of assemblage and "Papiers collés" ; Picasso's return to the Baroque and the human face assemblages ; Experiments of Juan Gris and Braque ; Cubist sculpture -- Cubism outside France 1911-1915. Cubism in Russia ; From Russia to Germany ; Prague, the second centre of cubism ; The United States and the armory show ; England -- The aftermath of cubism. Reactions of the cubist experience on Picasso ; Avignon: Picasso and Derain together for the last time ; Matisse and cubism ; Picasso during the war ; "Parade" and Picasso's journey to Rome ; Sculpture and the cubist style ; Codified and academic cubism ; The major cubists after the war -- The cubist heritage.
Cubism by
Les Demoiselles d Avignon: five young women that changed modern art forever. Faces seen simultaneously from the front and in profile, angular bodies whose once voluptuous feminine forms disappear behind asymmetric lines - with this work, Picasso revolutionised the entire history of painting. Cubism was thus born in 1907. Transforming natural forms into cylinders and cubes, painters like Juan Gris and Robert Delaunay, led by Braque and Picasso, imposed a new vision upon the world that was in total opposition to the principles of the Impressionists. Largely diffused in Europe, Cubism developed rapidly in successive phases that brought art history to all the richness of the 20th century: from the futurism of Boccioni to the abstraction of Kandinsky, from the suprematism of Malevich to the constructivism of Tatlin. Linking the core text of Guillaume Apollinaire with the studies of Dr. Dorothea Eimert, this work offers a new interpretation of modernity s crucial moment, and permits the reader to rediscover, through their biographies, the principal representatives of the movement."
Primitivism in Twentieth Century Art by
These two volumes comprise the first comprehensive scholarly treatment in half a century of the crucial influence of the tribal arts--particularly those of Africa and Oceania--on modern painters and sculptors. In this visually stunning and intellectually provocative work, 19 essays confront complex aesthetic, art-historical and sociological problems posed by this dramatic chapter in the history of modern art. The main body of the book contains a series of essays on primitivism in the works of Gauguin, the Fauves, Picasso, Brancusi, the German Expressionists, Lipchitz, Modigliani, Klee, Giacometti, Moore, the Surrealists and the Abstract Expressionists. It concludes with a discussion of primitivist contemporary artists, including those involved in earthworks, shamanism and ritual-inspired performances.
 The Disquieting Muses, Giorgio de Chirico, 1918, oil on canvas |
Date: Locations: Historical Events: Disillusionment after World War I; The Great Depression (1929–1938); World War II (1939–1945) and Nazi horrors; atomic bombs dropped on Japan (1945) Characteristics: painting dreams and exploring the unconscious; denunciation of rationalist mindset; tapping into the subconscious and exploration of psychoanalysis theories developed by Sigmund Freud. Artists: Duchamp, Dalí, Ernst, Magritte, de Chirico, Kahlo |
Dada and Surrealism: a Very Short Introduction by
The avant-garde movements of Dada and Surrealism continue to have a huge influence on cultural practice, especially in contemporary art, with its obsession with sexuality, fetishism, and shock tactics. In this new treatment of the subject, Hopkins focuses on the many debates surrounding thesemovements: the Marquis de Sade's Surrealist deification, issues of quality (How good is Dali?), the idea of the 'readymade', attitudes towards the city, the impact of Freud, attitudes to women, fetishism, and primitivism. The international nature of these movements is examined, covering the citiesof Zurich, New York, Berlin, Cologne, Barcelona, Paris, London, and recenlty discovered examples in Eastern Europe.Hopkins explores the huge range of media employed by both Dada and Surrealism (collage, painting, found objects, performance art, photography, film) , whilst at the same time establishing the aesthetic differences between the movements. He also examines the Dadaist obsession with thebody-as-mechanism in relation to the Surrealists' return to the fetishized/eroticized body.
Magritte by
The artist's most unforgettable images come together in an exquisite study of his life and work. This comprehensive and provocative monograph traces the influences on Magritte's art while 400 illustrations show the full range of his work. Not only the well-known paintings but also lesser-known murals, photographs, sculptures, and commercial works are represented. 400 illustrations, 110 in full-color.
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Date: 1940-1960 Location: New York/USA Historical Events: Cold War and Vietnam War (U.S. enters 1965); U.S.S.R. suppresses Hungarian revolt (1956) Czechoslovakian revolt (1968) Characteristics: Post–World War II: pure abstraction and expression without form; spontaneity and improvisation; complete break with the conventional. Artists: Pollock, de Kooning, Gorky, Rothko, Newman, Still, Jasper Johns, Rauschenberg Search Terms: color field painting, actin painters, New York School |
Abstract Expressionism for Beginners by
Abstract Expressionism was the defining movement in American art during the years following World War II, making New York City the center of the international art scene. But what the heck did it mean! The drips, the spills, the splashes, the blotches of color, the wild spontaneous energy--signifying what? Abstract Expressionism For Beginners will not only help you understand, but also appreciate the art of some of the most iconic figures in modern art--Jackson Pollock, Willem de Kooning, Mark Rothko, Helen Frankenthaler, and others. Explore their lives and artistic roots, the heady world of Greenwich Village in the 1940s and 1950s, the influence of jazz, the voices of critics, and the enduring legacy of a uniquely inspired group of artists.
Modern Masters by
This brand new volume presents, in stunning color, over seventy postwar artworks from the collection of the Smithsonian American Art Museum, and looks at the rise to prominence of New York as the center of the modern art scene in the two decades following World War II.
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"Blaze," (1964) Bridget Riley, National Galleries Scotland |
Dates: 1950-1960s Locations: France Historical Events: Cold War and Vietnam War (U.S. enters 1965); U.S.S.R. suppresses Hungarian revolt (1956) Czechoslovakian revolt (1968) Characteristics: Interested in optical effects; Creating images that appear to be moving or blurring by using contrasts of colors, patterns, and shapes; Inspired by advances in science and technology Artists: Bridget Riley, Jean-Pierre Yvaral, Victor Vasarely
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Modern Women: Women Artists at the Museum of Modern Art by
Individuals:Women Artists in the Collection of The Museum of Modern Art represents the first effort by a major North American museum to examine its collection in light of feminist scholarship of the past three decades. Featuring illustrated essays by nearly fifty writers, including both MoMA curators and outside scholars, among them many of the strongest voices in current research on art and gender, this groundbreaking publication presents a range of generational and cultural perspectives. Individuals focuses on a diverse range of artists active from the late nineteenth century to the present whose works span the spectrum of mediums and genres in the Museum's collection. Organized chronologically into three sections - Early Modernism, Mid-Century and Contemporary - the book comprises both long and short essays emphasizing new research on women artists within these historical time periods. Richly illustrated with objects from the collection, Individuals foregrounds a conversation between past considerations of MoMA's collection and current feminist narratives of art history, putting these varied modes of exploration in productive dialogue.
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Date: 1950-1970 Locations: USA, UK Historical Events: Vietnam War, rise of Communism, economic and political growth of the USA, Cold War, social upheaval in the USA Characteristics: popular art absorbs consumerism; art inspired by and critiquing popular and commercial culture Artists: Warhol, Lichtenstein, Hamilton, Rosenquist, Rauschenberg, Oldenburg Search Terms: popular culture AND art; mass-production AND art |
Andy Warhol : from A to B and Back Again by
A unique 360-degree view of an incomparable 20th-century American artist One of the most emulated and significant figures in modern art, Andy Warhol (1928-1987) rose to fame in the 1960s with his iconic Pop pieces. Warhol expanded the boundaries by which art is defined and created groundbreaking work in a diverse array of media that includes paintings, sculptures, prints, photographs, films, and installations. This ambitious book is the first to examine Warhol's work in its entirety. It builds on a wealth of new research and materials that have come to light in recent decades and offers a rare and much-needed comprehensive look at the full scope of Warhol's production--from his commercial illustrations of the 1950s through his monumental paintings of the 1980s. Donna De Salvo explores how Warhol's work engages with notions of public and private, the redefinition of media, and the role of abstraction, while a series of incisive and eye-opening essays by eminent scholars and contemporary artists touch on a broad range of topics, such as Warhol's response to the AIDS epidemic, his international influence, and how his work relates to constructs of self-image seen in social media today.
Pop Art and the Origins of Post-Modernism by
Pop Art and the Origins of Post-Modernism examines the critical reception of Pop Art in America during the 1960s. Comparing the ideas of a group of New York-based critics, including Leo Steinberg, Susan Sontag, and Max Kozloff, among others, Sylvia Harrison demonstrates how their ideas - broadly categorized as either sociological or philosophical - bear a striking similarity to the body of thought and opinion which is now associated with deconstructive post-modernism. Perceived through these disciplinary lenses, Pop Art arises as not only a reflection of the dominance of mass communications and capitalist consumerism in post-war American society, but also a subversive commentary on worldviews and the factors necessary for their formation.
Contents
pt. 1. Theoretical Framework. 1. Post-Modernist Assumptions -- pt. 2. "Social" Critics. 2. Lawrence Alloway: Pop Art and the "Pop Art-Fine Art Continuum" 3. Harold Rosenberg: Pop Art and the "De-definition" of Both Art and "Self" 4. Leo Steinberg: Pop, "Post-Modernist" Painting, and the Flatbed Picture Plane -- pt. 3. "Philosophical" Critics. 5. Barbara Rose: Pop, Pragmatism, and "Prophetic Pragmatism" 6. Max Kozloff: A Phenomenological Solution to "Warholism" and Its Disenfranchisement of the Critic's Interpretive and Evaluative Roles -- pt. 4. "Cultural" Critics. 7. Susan Sontag: Pop, the Aesthetics of Silence, and the New Sensibility.
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Hyena Stomp, Frank Stella, 1962, alkyd paint on canvas |
Date: 1960 Locations: New York / USA Characteristics: Reaction against the overly expressive works of Abstract Expressionists artists; Focus on anonymity and materiality of works; artists urged viewers to focus on what is in front on them rather than draw parallels to ouside reality and emotive throughts; purified forms, order, simplicity, and harmony. Artists: Frank Stella, Donald Judd, Sol LeWitt, Robert Morris, Carl Andre, Dan Flavin |
Twentieth-Century American Art by
Jackson Pollock, Georgia O'Keeffe, Andy Warhol, Julian Schnabel, and Laurie Anderson are just some of the major American artists of the twentieth century. From the 1893 Chicago World's Fair to the 2000 Whitney Biennial, a rapid succession of art movements and different styles reflected the extreme changes in American culture and society, as well as America's position within the international art world. This exciting new look at twentieth century American art explores the relationships between American art, museums, and audiences in the century that came to be called the 'American century'. Extending beyond New York, it covers the emergence of Feminist art in Los Angeles in the 1970s; the Black art movement; the expansion of galleries and art schools; and the highly political public controversies surrounding arts funding. All the key movements are fully discussed, including early American Modernism, the New Negro movement, Regionalism, Abstract Expressionism, Pop Art, and Neo-Expressionism.
Contents
Cover; Contents; Acknowledgements; Introduction; Chapter 1 The Gilded Age; Chapter 2 Early American Modernism: the Art of Everyday Life; Chapter 3 Avant-Garde Art and Experimentation; Chapter 4 Modernism and the Interwar Years; Chapter 5 A New Deal for the Arts: the Great Depression; Chapter 6 Abstract Expressionism; Chapter 7 Neo-Dada and Pop Art; Chapter 8 Minimalism and Conceptual Art; Chapter 9 Feminist Art and Black Art; Chapter 10 Culture Wars: the 1980's; Chapter 11 Contemporary Art; Notes; Further Reading; Timeline; Museums and Websites; List of Illustrations; Index;
Minimalism by
The effects and influence of minimalism--the art movement in which artists removed personal expression and decorative detail from their work--continue to be felt today as art produced by its proponents continues to be exhibited and artists continue to use the style. The great movements of modern art, among them Impressionism, Surrealism, Cubism, and Abstract Expressionism, have challenged rather than accommodated critics and public. None more so than Minimalism, which unrelentingly questioned not only the nature of art, but also the place of art in society-especially the capitalist society of the United States. Beginning in the 1960s, artists like Frank Stella, Donald Judd, Carl Andre, Dan Flavin, Sol LeWitt, Robert Morris, Robert Smithson, Walter De Maria, Richard Serra, Keith Sonnier, Eva Hesse, Robert Grosvenor, and Joel Shapiro reacted against what they saw as the flamboyance of Abstract Expressionism, seeking instead materials, forms, and procedures that explicitly do not convey the personal touch of the fabricator. Many observers have judged the artworks that resulted obstinately cerebral and unapproachable-or, worse, barren beyond the point of tedium. Others have recognized that these works are, in fact, revolutionary, embodying an elemental immediacy unprecedented in Western art. Giving no quarter to complacent illusion and habits of perception, the Minimalists pushed aesthetic thought deeply into the crust of unexamined ideas that most of us take for granted as cultural terra firma. In this volume, illustrated with works ranging from small-scale sculpture and hermetic paintings to vast "earthworks," Kenneth Baker, the award-winning art critic of the San Francisco Chronicle, explores the history and challenge of Minimalism in the context not only of the trends it succeeded, but of those that have succeeded it. Minimalism: Art of Circumstance is one of those rare essays of critical insight that combine a comprehensive point of view with a revisionist spirit; for, in unfolding the history of his subject, Baker finally challenges the very notion of a "minimalist movement." The result is provocative, and in today's wildly pluralistic post-modern art world, this volume is living history-in fact, required reading. Art critic for the San Francisco Chronicle, Kenneth Baker publishes in all the major journals, including Art in America, Artforum, Architectural Digest, Connoisseur, The Atlantic, The New York Times, and many others. He has received the Manufacturers Hanover Trust-Art World Award for Distinguished Newspaper Art Criticism (1985) and his Minimalism studies have been supported by the Dia Foundation. Baker has taught at Brown University, Rhode Island School of Design, and Boston College. 128 illustrations
Minimalism by
A beautifully illustrated book, internationally recognized as the definitive survey of Minimalism, now available in paperback
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Date: 1960-1970 Locations: Simultaneous across Europe, North and South America Historical Events: Nuclear freeze movement; Cold War fizzles Characteristics: "In the 1960s, many artists experimented with art that emphasized ideas over objects and materials traditionally associated with art making. In 1967, Sol LeWitt wrote in his essay “Paragraphs on Conceptual Art” that “the idea itself, even if it is not made visual, is as much of a work of art as any finished product.” Conceptual artists used their work to question the notion of what art is, and to critique the underlying ideological structures of artistic production, distribution, and display." -- MoMA; Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object. Artists: Baldessari, Robert Morris, Sol LeWitt, Joseph Kosuth,
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Philosophy and Conceptual Art by
The fourteen prominent analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art? Conceptual art, broadly understood by the contributors as beginning with Marcel Duchamp's ready-mades and as continuing beyond the 1970s to include some of today's contemporary art, is grounded in the notion that the artist's 'idea' is central to art, and, contrary to tradition, that the material work is by no means essential to the art as such. To use the words of the conceptual artist Sol LeWitt, 'In conceptual art the idea of the concept is the most important aspect of the work ...and the execution is a perfunctory affair'.; Given this so-called 'dematerialization' of the art object, the emphasis on cognitive value, and the frequent appeal to philosophy by many conceptual artists, there are many questions that are raised by conceptual art that should be of interest to analytic philosophers. Why, then, has so little work been done in this area? This volume is most probably the first collection of papers by analytic Anglo-American philosophers tackling these concerns head-on. Contributors Margaret Boden, Diarmuid Costello, Gregory Currie, David Davies, Peter Goldie, Robert Hopkins, Matthew Kieran, Peter Lamarque, Dominic McIver Lopes, Derek Matravers, Elisabeth Schellekens, Kathleen Stock, Carolyn Wilde, and the 'Art & Language' group.
Sol Lewitt by
An intimate portrait of a renowned conceptual artist Sol LeWitt (1928-2007), one of the most influential artists of the twentieth century, upended traditional practices of how art is made and marketed. A key figure in minimalism and conceptualism, he proclaimed that the work of the mind is much more important than that of the hand. For his site-specific work?wall drawings and sculpture in dozens of countries?he created the idea and basic plan and then hired young artists to install the pieces. Though typically enormous and intricate, the physical works held no value. The worth was in the pieces of paper that certified and described them. LeWitt championed and financially supported colleagues, including women artists brushed aside by the bullies of a male-dominated profession. Yet the man himself has remained an enigma, as he refused to participate in the culture of celebrity. Lary Bloom's book draws on personal recollections of LeWitt, whom he knew in the last years of the artist's life, as well as LeWitt's letters and papers and over one hundred original interviews with his friends and colleagues, including Chuck Close, Ingrid Sischy, Philip Glass, Adrian Piper, Jan Dibbets, and Carl Andre. This absorbing chronicle brings new information to our understanding of this important artist, linking the extraordinary arc of his life to his iconic work. Includes 28 illustrations.
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"Betty," (1988) Gerhard Richter, oil on canvas, Saint Louis Art Museum. |
Date: 1980-Present Locations: International Historical Events: Nuclear freeze movement; Cold War fizzles; Communism collapses in Eastern Europe and U.S.S.R. (1989–1991), Iraq wars, climate change, rise of populism and autocracies Characteristics: "Contemporary art is the art of today, produced in the second half of the 20th century or in the 21st century. Contemporary artists work in a globally influenced, culturally diverse, and technologically advancing world." - Google Arts & Culture Artists: Jeff Koons, Barbara Kruger, Claes Oldenburg Search Terms: Postmodernism; Feminist art; Neo Expressionism; Street art; Pictures Generation; Appropriation art; Young British Artists (YBA); Digital art |
Contemporary Art by
An engaging account of today's contemporary art world that features original articles by leading international art historians, critics, curators, and artists, introducing varied perspectives on the most important debates and discussions happening around the world. Features a collection of all-new essays, organized around fourteen specific themes, chosen to reflect the latest debates in contemporary art since 1989 Each topic is prefaced by an introduction on current discussions in the field and investigated by three essays, each shedding light on the subject in new and contrasting ways Topics include: globalization, formalism, technology, participation, agency, biennials, activism, fundamentalism, judgment, markets, art schools, and scholarship International in scope, bringing together over forty of the most important voices in the field, including Sofía Hernández Chong Cuy, David Joselit, Michelle Kuo, Raqs Media Collective, and Jan Verwoert A stimulating guide that will encourage polemical interventions and foster critical dialogue among both students and art aficionados
Windward Community College Library
"Young Hare," (1502) Albrecht Dürer, watercolor and body color, Albertina (Vienna)
"One: Number 31, 1950" (1950) Jackson Pollock, oil and enamel paint on canvas, 
"Corner Piece No.2" (2001) Sol LeWitt