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Books > Arts & Architecture > History of art / art & design styles > 1800 to 1900
The Arts and Crafts Movement was a reaction to the brutality of
working life and the sterility of industrial design in Victorian
Britain. Although Arts and Crafts was initially a mediaeval
revival, the movement was always about the artist craftsman and the
appropriate use of materials, rather than any single design
tradition. The movement was inspired and led by William Morris,
whose company was founded in 1861 and produced a full range of
interior furnishings, including tiles. These were designed by
Morris himself, and also by leading artists and architects of the
day such as Edward Burne Jones and Philip Webb. The term Arts and
Crafts was formalised in the late 1880s, and many designers,
artists and craftsmen joined Morris in this new movement, and
leading designers including Walter Crane and C. F. A. Voysey
produced distinctive and now highly collectable ceramic tiles that
were used to decorate the bathrooms and the fireplaces of the
wealthy and discerning. This book, with its companion on the work
of William de Morgan, is the first complete introduction to British
Arts and Crafts tiles from 1860 to 1920.
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Turner
(Paperback)
Cosmo Monkhouse
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R513
Discovery Miles 5 130
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Ships in 10 - 15 working days
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Spirited Prospect: A Portable History of Western Art from the
Paleolithic to the Modern Era is a lively, scholarly survey of the
great artists, works, and movements that make up the history of
Western art. Within the text, important questions are addressed:
What is art, and who is an artist? What is the West, and what is
the Canon? Is the Western Canon closed or exclusionary? Why is it
more important than ever for individuals to engage and understand
it? Readers are escorted on a concise, chronological tour of
Western visual culture, beginning with the first art produced
before written history. They learn about the great ancient cultures
of Egypt, Mesopotamia, Greece, and Italy; the advent of
Christianity and its manifestations in Byzantine, Medieval,
Renaissance, and Baroque art; and the fragmentation of old
traditions and the proliferation of new artistic choices that
characterize the Enlightenment and the Modern Era. The revised
second edition features improved formatting, juxtaposition, sizing,
and spacing of images throughout. Spirited Prospect is an ideal
textbook for introductory courses in the history of art, as well as
courses in studio art and Western civilization at all levels.
In this fundamental rethinking of the rise of modernism from its
beginnings in the Impressionist movement, Robert Jensen reveals
that market discourses were pervasive in the ideological defense of
modernism from its very inception and that the avant-garde actually
thrived on the commercial appeal of anti-commercialism at the turn
of the century. The commercial success of modernism, he argues,
depended greatly on possession of historical legitimacy. The very
development of modern art was inseparable from the commercialism
many of its proponents sought to transcend. Here Jensen explores
the economic, aesthetic, institutional, and ideological factors
that led to its dominance in the international art world by the
early 1900s. He emphasizes the role of the emerging dealer/gallery
market and of modernist art historiographies in evaluating modern
art and legitimizing it through the formation of a canon of
modernist masters.
In describing the canon-building of modern dealerships, Jensen
considers the new "ideological dealer" and explores the commercial
construction of artistic identity through such rhetorical concepts
as temperament and "independent art" and through such institutional
structures as the retrospective. His inquiries into the fate of the
"juste milieu," a group of dissidents who saw themselves as "true
heirs" of Impressionism, and his look at a new form of art history
emerging in Germany further expose a linear, dealer- oriented
history of modernist art constructed by or through the modernists
themselves.
A comprehensive survey of The Phillips Collection's spectacular
holdings in American art American art has been essential to The
Phillips Collection since its founding by Duncan Phillips in 1921.
Phillips's collecting interests were decidedly against the grain:
he acquired the work of living American artists, especially those
outside the mainstream, when it was unpopular to do so and promoted
diversity, as seen in works by self-taught artists, artists of
color, and naturalized Americans, resulting in a rich assembly of
independent-minded artists, including Milton Avery, Stuart Davis,
Arthur Dove, and Georgia O'Keeffe. The Phillips Collection's superb
collection of American art, acquired over half a century, is
presented here for the first time in a comprehensive overview,
featuring 160 works from heroes of the late 19th century-such as
William Merritt Chase, Thomas Eakins, and Winslow Homer, who set
the course for modern art in America-to abstract expressionists
Willem de Kooning, Richard Diebenkorn, Adolph Gottlieb, and Mark
Rothko, whose efforts to create a new visual language following
World War II brought a new global significance to American art. A
perennial guide to this important collection, the book includes
scholarly essays on Phillips and on the Rothko Room, introductions
to key groups of works in the collection, more than one hundred
biographies of the most influential artists represented, and a
chronology of Phillip's acquisitions and interactions with American
artists. Published in association with The Phillips Collection
Exhibition Schedule: The Phillips Collection (03/01/14-08/31/14)
The Body in Time looks at two different genres in relation to the
construction of femininity in late nineteenth-century France:
Degas's representation of ballet dancers and the transforming
tradition of female portraiture. Class, gender, power, and agency
are at stake in both arenas, but they play themselves out in
different ways via different pictorial languages. Degas's
depictions of anonymous young female ballerinas at the Paris Opera
reflect his fascination with the physical exertions and prosaic
setting of the dancer's sexualized body. Unlike the standard
Romantic depictions of the ballerina, Degas's dancers are anonymous
spread-legged workers on public display. Female portraiture and
self-portraiture, in contrast, depicted the unique and the
distinctive: privileged women, self-assured individuals
transgressing gender conventions. Focusing on Degas's
representation of the dancer, Tamar Garb examines the development
of Degas's oeuvre from its early Realist documentary ambitions to
the abstracted Symbolist renderings of the feminine as cypher in
his later works. She argues that despite the apparent depletion of
social significance and specificity, Degas's later works remain
deeply enmeshed in contemporary gendered ways of viewing and
experiencing art and life. Garb also looks at the transformation in
the genre of portraiture heralded by the "new woman," examining the
historical expectations of female portraiture and demonstrating how
these expectations are challenged by new notions of female autonomy
and interiority. Women artists such as Anna Klumpke, Rosa Bonheur,
and Anna Bilinska deployed the language of Realism in their own
self-representation. The figure of femininity remained central to
the personal, political, and pictorial imperatives of artists
across the spectrum of modern aesthetics. Gender and genre
intersect throughout this book to show how these categories
mutually impact one another.
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