The Shock of the New: The Hundred=Year History of Modern ArtA beautifully illustrated hundred-year history of modern art, from cubism to pop and avant-guard. More than 250 color photos. |
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Page 19
... Duchamp's scurrilous LHOOQ, the. moustache. on. the. Mona. Lisa. With every reason, Marinetti called himself la caffeina dell' Europa, “the caffeine of Europe.” The name “Futurism” was a brilliant choice, challenging but vague; it could ...
... Duchamp's scurrilous LHOOQ, the. moustache. on. the. Mona. Lisa. With every reason, Marinetti called himself la caffeina dell' Europa, “the caffeine of Europe.” The name “Futurism” was a brilliant choice, challenging but vague; it could ...
Page 25
... Duchamp. Having been made by man, the machine had in their view become a perverse but substantially accurate self-portrait. The machine, as Picabia put it in one of his titles (plate 28), was La Fille Née Sans Mere, 1916—17, the ...
... Duchamp. Having been made by man, the machine had in their view become a perverse but substantially accurate self-portrait. The machine, as Picabia put it in one of his titles (plate 28), was La Fille Née Sans Mere, 1916—17, the ...
Page 26
... Duchamp's Large Glass). Both machines are racing against a locomotive. Le Surmcile wins both the race and the girl, daughter of an American industrialist, who is riding in the train. But he cannot love the girl; he is already too ...
... Duchamp's Large Glass). Both machines are racing against a locomotive. Le Surmcile wins both the race and the girl, daughter of an American industrialist, who is riding in the train. But he cannot love the girl; he is already too ...
Page 29
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Page 29
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abstract Abstract Expressionism aesthetic American architects architecture artist avant-garde Bauhaus Berlin Brancusi Braque Breton Bruno Taut building Cézanne Cézanne’s Chirico collage Collection colour Corbusier Corbusier’s Cubism culture Dada Dali Duchamp eighties Ernst Expressionism Expressionist fantasies feeling figure flat flesh French Futurist Gallery Gauguin Georges Braque German glass Gogh Gropius Henri Matisse idea ideal imagery images imagined influence Jackson Pollock Kandinsky Kooning landscape Le Corbusier Leo Castelli living look machine Marinetti Mark Rothko mass Matisse Matisse’s Max Ernst metaphor Modern Art modernist Mondrian Monet motif Munch Museum of Modern nature objects Oil on canvas one’s Pablo Picasso painter painting Paris Paul Cézanne Picasso plate political Pollock Pop art Rauschenberg reality reflected Rothko Russian sculpture seemed seen sense Seurat seventies sixties social space street studio style surface Surrealism Surrealist symbol things thought Tower tradition twentieth century visual wall wanted Warhol watercolour Weimar wrote York