The Shock of the NewAn illustrated history of modern art describes the origins of modern painting, sculpture, and architecture, shows how world events affected the art, and explains why the movement is near its end. |
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Page 141
... Matisse's common sense . He , at least , was under no illusions about his audience . He knew that an educated bourgeoisie was the only audience advanced art could claim , and history has shown him right . So it is fitting that the scene ...
... Matisse's common sense . He , at least , was under no illusions about his audience . He knew that an educated bourgeoisie was the only audience advanced art could claim , and history has shown him right . So it is fitting that the scene ...
Page 152
... Matisse's resolution of the two visions of nature that he , as a completely cultivated artist , had inherited from the symbolic traditions of Islam and Christianity . One was the artificial paradise - garden , whose chief example ( for ...
... Matisse's resolution of the two visions of nature that he , as a completely cultivated artist , had inherited from the symbolic traditions of Islam and Christianity . One was the artificial paradise - garden , whose chief example ( for ...
Page 154
... Matisse : crucifix and altar , stained - glass windows , Stations of the Cross , vestments , the lot . Matisse's chasubles , with their refulgent and sonorous colour harmonies and unexpected relationships to the movement of the ...
... Matisse : crucifix and altar , stained - glass windows , Stations of the Cross , vestments , the lot . Matisse's chasubles , with their refulgent and sonorous colour harmonies and unexpected relationships to the movement of the ...
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abstract Abstract Expressionism aesthetic American architects architecture artist avant-garde Bauhaus Berlin Braque Breton Bruno Taut building Campbells Campbells Campbells Cézanne Cézanne's Chirico's collage Collection colour CONDENSED CONDENSED CONSOMME Corbusier Cubism culture Dada Dali Duchamp Ernst Expressionism Expressionist fantasy feeling figure French Futurist Gallery Gauguin Georges Braque German glass Gogh Gropius Henri Matisse idea ideal imagery images imagined Jackson Pollock Kandinsky Kooning landscape Le Corbusier Leo Castelli London look machine Magritte Mark Rothko mass Matisse Matisse's Max Ernst metaphors Miró Modern Art modernist Mondrian Monet motif Munch Museum of Modern nature objects obsessive Oil on canvas Pablo Picasso painter painting Paris PEPPERPOT Picasso plate political Pollock Pop art reality Rothko Russian sculpture seemed seen sense Seurat social SOUP SOUP SOUP space studio style surface Surrealism Surrealist symbol Thames & Hudson things TOMATO Tower tradition Utopian visual wanted watercolour Weimar wrote York