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 21
... Picasso's Les Demoiselles d'Avignon , 1907 , with its African source material ( plates 4 , 5 ) , the differences are as striking as the similarities . What Picasso cared about was the formal vitality of African art , which was for him ...
... Picasso's Les Demoiselles d'Avignon , 1907 , with its African source material ( plates 4 , 5 ) , the differences are as striking as the similarities . What Picasso cared about was the formal vitality of African art , which was for him ...
Page 24
... Picasso turns viewer into voyeur ; the stares of the five girls are concentrated on whoever is looking at the painting . And by putting the viewer in the client's sofa , Picasso transmits , with overwhelming force , the sexual anxiety ...
... Picasso turns viewer into voyeur ; the stares of the five girls are concentrated on whoever is looking at the painting . And by putting the viewer in the client's sofa , Picasso transmits , with overwhelming force , the sexual anxiety ...
Page 151
... Picasso's work , is expressed with total candour . It was in fact the last major work of art , by Picasso or anyone else , to be directly inspired by Mediterranean antiquity : the end of an immense tradition that died amid the ...
... Picasso's work , is expressed with total candour . It was in fact the last major work of art , by Picasso or anyone else , to be directly inspired by Mediterranean antiquity : the end of an immense tradition that died amid 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