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. |
From inside the book
Results 1-5 of 35
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... motifs into the same time. Conversely, it left less time in which to dwell on any one thing. At first, only a few people could have this curiously altered experience of the visual world without taking a train: the crackpots and ...
... motifs into the same time. Conversely, it left less time in which to dwell on any one thing. At first, only a few people could have this curiously altered experience of the visual world without taking a train: the crackpots and ...
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... a steering wheel. Such motifs were too new, like the machine itself, so no exact representation of a car in stone could be as visually convincing as the car itself. 1 Camille Lefebvre Monument to Levassor, Porte Maillot, Paris 1907.
... a steering wheel. Such motifs were too new, like the machine itself, so no exact representation of a car in stone could be as visually convincing as the car itself. 1 Camille Lefebvre Monument to Levassor, Porte Maillot, Paris 1907.
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... motifs multiply... These “motifs” were not merely rocks and grasses; they were the relationships between grass and ... motif (plate 2). No previous painter had taken his viewers through this process so frankly. In Titian or Rubens, it ...
... motifs multiply... These “motifs” were not merely rocks and grasses; they were the relationships between grass and ... motif (plate 2). No previous painter had taken his viewers through this process so frankly. In Titian or Rubens, it ...
Page 3
... motifs from African art, Picasso and then Braque brought to its climax a long interest which nineteenth-century France had shown in the exotic, the distant, and the primitive. The French colonial empire in Morocco had given the exotic ...
... motifs from African art, Picasso and then Braque brought to its climax a long interest which nineteenth-century France had shown in the exotic, the distant, and the primitive. The French colonial empire in Morocco had given the exotic ...
Page 7
... motif; Braque was not yet interested in the abstractions of the studio, and he felt a need to be on the spot. Specifically, he needed Cézanne's own motifs, and in the summer of 1908 he went off to paint in L'Estaque, in the South of ...
... motif; Braque was not yet interested in the abstractions of the studio, and he felt a need to be on the spot. Specifically, he needed Cézanne's own motifs, and in the summer of 1908 he went off to paint in L'Estaque, in the South of ...
Common terms and phrases
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