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Books > Arts & Architecture > History of art / art & design styles > From 1900 > General
Drawing Masterclass explores the act of vision of the world's great artists, describing how the images were created to allow you to weave some of this magic into your own drawings. The book is organized into seven chapters covering important genres: nudes, figures, landscapes, still life and studies, heads, fantasy and abstraction. Each chapter selects a cross section of artists and examines their practice in detail, using key drawings. Each artist is described through one of 100 selected masterpieces, plus a biographical profile and a practical look at the way the drawing was made: the materials and technique, as well as an examination of the ideas and inspiration behind its making and how the artist's life might reflect their concerns. Light and shade, rhythm, form, space, contour and composition are all covered in detail. The book covers a broad historical and geographic sweep, and includes many of the most celebrated male and female artists.
Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art.
Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art.
Which artists in British 20th century art painted religious images? Broadly speaking there seem to have been two categories: The first concerns artists who created religious images when the religious content was in response to a set subject, for example The Deluge in the 1920 Rome Scholarship in Decorative Painting, or who responded to a specific commission, for example Thomas Monnington's works for The Ormond Chapel, Bradford, Kippen Church and Stations of the Cross for Brede Church in Hastings. The second category concerns a small minority off artists who were committed believers such as Frank Brangwyn, Eric Gill and Stanley Spencer. No account of 20th Century British art can overlook the numerous works of the period that were essentially "religious" in their content. Art, Faith& Modernity examines this question in Paul Liss' and Alan Powers' essays and demonstrates the wide range of expression in more than 200 colour reproductions.
Making extensive use of information gained from in-depth interviews with architects active in the period between 1930-1959, the author provides a sympathetic understanding of the modern movement's architectural role in reshaping the fabric and structure of British metropolitan cities in the post-war period and traces the links between the experience of British modernists and the wider international modern movement. This book should be of interest to academics in architecture; urban design; urban geography; architecture of planning history; geography; sociology; practising architects; urban designers; and planners.
G. Roger Denson brings singular insight to Thomas McEvilley's
writings. As an art writer he has explored similar territory, but
from the point of view of a nomadic ideologist. His approach
matches that of his subject. He addresses the issues of pragmatism,
historicism, and cultural relativism. In so doing, he effectively
dismantles the need to establish a master narrative. The contrast
and agreement between these two writers constitutes a mapping of
the terrain of contemporary culture.
James Manns presents a readable and entertaining examination of the most serious questions posed by the arts and our relation to them. In a clear and engaging fashion, he explores the central issues in aesthetics: aesthetic judgment, the nature and role of criticism, the elusiveness of the concept of art, and communication through art, and he critically (but sympathetically) considers that principal theories of art that focus on expression, form, and representation. Through the use of extensive, entertaining, and current examples (including film), Manns conveys the solid basics relating to the history and development of aesthetic theories, tries out these various theories against the art of the last half century, then outlines his own view revolving around the artist's intention and the act of communication.
James Manns presents a readable and entertaining examination of the most serious questions posed by the arts and our relation to them. In a clear and engaging fashion, he explores the central issues in aesthetics: aesthetic judgment, the nature and role of criticism, the elusiveness of the concept of art, and communication through art, and he critically (but sympathetically) considers that principal theories of art that focus on expression, form, and representation. Through the use of extensive, entertaining, and current examples (including film), Manns conveys the solid basics relating to the history and development of aesthetic theories, tries out these various theories against the art of the last half century, then outlines his own view revolving around the artist's intention and the act of communication.
What sets Thomas McEvilley apart from other critics in art and culture is his direct knowledge of the newest art and theory, and his comprehensive understanding of classic art and ancient civilizations. In McEvilley's view, modernism's present was the future, and post-modernism's present is the past. He distinguishes himself from both of these positions, and - Janus-like - simultaneously scrutinizes past and present in order to facilitate the production of future discourse. G. Roger Denson brings singular insight to Thomas McEvilley's writings. As an art writer he has explored similar theory, but from the point of view of a nomadic ideologist. He addresses the issues of pragmatism, historicism, and cultural relativism. In so doing, he effectively dismantles the need to establish a master narrative.
Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain critically analyses the role that visual culture played in the early development of Mass-Observation, the innovative British anthropological research group founded in 1937. The group's production and use of painting, collage, photography, and other media illustrates not only the broad scope of Mass-Observation's efforts to document everyday life, but also, more specifically, the centrality of visual elements to its efforts at understanding national identity in the 1930s. Although much interest has previously focused on Mass-Observation's use of written reports and opinion surveys, as well as diaries that were kept by hundreds of volunteer observers, this book is the first full-length study of the group's engagement with visual culture. Exploring the paintings of Graham Bell and William Coldstream; the photographs of Humphrey Spender; the paintings, collages, and photographs of Julian Trevelyan; and Humphrey Spender's photographs and widely recognized 'Mass-Observation film', Spare Time, among other sources, Mass-Observation and Visual Culture: Depicting Everyday Lives in Britain positions these works as key sources of information with regard to illuminating the complex character of British identity during the Depression era.
Subtle and wide-ranging in its account, this study explores the impact of Australian art in Britain in the two decades following the end of World War II and preceding the 'Swinging Sixties'. In a transitional period of decolonization in Britain, Australian painting was briefly seized upon as a dynamic and reinvigorating force in contemporary art, and a group of Australian artists settled in London where they held centre stage with group and solo exhibitions in the capital's most prestigious galleries. The book traces the key influences of Sir Kenneth Clark, Bernard Smith and Bryan Robertson in their various (and varying) roles as patrons, ideologues, and entrepreneurs for Australian art, as well as the self-definition and interaction of the artists themselves. Simon Pierse interweaves multiple issues of the period into a cohesive historical narrative, including the mechanics of the British art world, the limited and frustrating cultural scene of 1950s Australia, and the conservative influence of Australian government bodies. Publishing for the first time archival material, letters, and photographs previously unavailable to scholars either in Britain or Australia, this book demonstrates how the work of expatriate Australian artists living in London constructed a distinct vision of Australian identity for a foreign market.
An important resource for scholars of contemporary art and architecture, this volume considers contemporary art that takes architecture as its subject. Concentrated on works made since 1990, Contemporary Art About Architecture: A Strange Utility is the first to take up this topic in a sustained and explicit manner and the first to advance the idea that contemporary art functions as a form of architectural history, theory, and analysis. Over the course of fourteen essays by both emerging and established scholars, this volume examines a diverse group of artists in conjunction with the vernacular, canonical, and fantastical structures engaged by their work. Inigo Manglano-Ovalle, Matthew Barney, Monika Sosnowska, Pipo Nguyen-duy, and Paul Pfeiffer are among those considered, as are the compelling questions of architecture's relationship to photography, the evolving legacy of Mies van der Rohe, the notion of an architectural unconscious, and the provocative concepts of the unbuilt and the unbuildable. Through a rigorous investigation of these issues, Contemporary Art About Architecture calls attention to the fact that art is now a vital form of architectural discourse. Indeed, this phenomenon is both pervasive and, in its individual incarnations, compelling - a reason to think again about the entangled histories of architecture and art.
These women changed art forever - told in colourful graphic novel form, this is the story of four pioneers of feminist art: Judy Chicago, Faith Ringold, Ana Mendieta, and the Guerilla Girls. Each made their mark in their own powerful way. Judy Chicago made us reassess the female body, Faith Ringold taught us that feminism is for everyone, Ana Mendieta was a martyr to violence against women, while the Guerilla Girls have taken the fight to the male-dominated museum. This graphic novel tells each of their stories in a unique style.
Painting, Politics and the Struggle for the Ecole de Paris, 1944-1964 is the first book dedicated to the postwar or 'nouvelle' Ecole de Paris. It challenges the customary relegation of the Ecole de Paris to the footnotes, not by arguing for some hitherto 'hidden' merit for the art and ideas associated with this school, but by establishing how and why the Ecole de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this 'school' was constituted by the paintings of a diverse group of artists, by the combative field of art criticism, and by the curatorial policies of galleries and state exhibitions. By thoroughly mining the extensive resources of the newspaper and art journal press, gallery and government archives, artists' writings and interviews with surviving artists and art critics, the book traces the artists, exhibitions, and art critical debates that made the Ecole de Paris a zone of aesthetic and political conflict. Through setting the Ecole de Paris into its artistic, social, and political context, Natalie Adamson demonstrates how it functioned as the defining force in French postwar art in its defence of the tradition of easel painting, as well as an international point of reference for the expansion of modernism. In doing so, she presents a wholly new perspective on the vexed relationships between painting, politics, and national identity in France during the two decades following World War II.
The before-and-after trope in photography has long paired images to represent change: whether affirmatively, as in the results of makeovers, social reforms or medical interventions, or negatively, in the destruction of the environment by the impacts of war or natural disasters. This interdisciplinary, multi-authored volume examines the central but almost unspoken position of before-and-after photography found in a wide range of contexts from the 19th century through to the present. Packed with case studies that explore the conceptual implications of these images, the book's rich language of evidence, documentation and persuasion present both historical material and the work of practicing photographers who have deployed - and challenged - the conventions of the before-and-after pairing. Touching on issues including sexuality, race, environmental change and criminality, Before-and-After Photography examines major topics of current debate in the critique of photography in an accessible way to allow students and scholars to explore the rich conceptual issues around photography's relationship with time andimagination.
An Intimate Distance considers a wide range of visual images of women in the context of current debates which centre around the body, including reproductive science, questions of ageing and death and the concept of 'body horror' in relation to food, consumption and sex. A feminist reclamation of these images suggests how the permeable boundaries between the female body and technology, nature and culture are being crossed in the work of women artists.
"Outlooks" reflects the richness of lesbian and gay ways of
producing and reading visual culturewhile tackling such issues as
the advantages of adopting a queer perspective on past art, the
responses of lesbian and gay artists to the AIDS crisis, and
society's attempts to censor homosexual art.
Wassily Kandinsky, Max Ernst, Jackson Pollock, and Joseph Beuys were the leading artists of their generations to recognize the rich possibilities that animism and shamanism offered. While each of these artists' connection with shamanism has been written about separately, Evan Firestone brings the four together in order to compare their individual approaches to anthropological materials and to define similarities and differences between them. The author's close readings of their works and examination of the relevant texts available to them reveal fresh insights and new perspectives.The importance of indigenous beliefs in animism for Kandinsky's philosophy of art and practice, especially the animism of inanimate objects, is analyzed for the first time in conjunction with his well-known enthusiasms for Symbolism and Theosophy. Ernst's collage novel, La femme 100 tetes (1929), previously found to have significant alchemical content, also is shown to extensively utilize shamanism, thereby merging different branches of the occult that prove to have remarkable similarities. The in-depth examination of Pollock's works, both known and overlooked for shamanic content, identifies textual sources that heretofore have escaped notice. Firestone also demonstrates how shamanism was employed by this artist to express his desire for healing and transformation. The author further argues that the German edition of Mircea Eliade's Shamanism: Archaic Techniques of Ecstasy (1957) helped to revitalize Beuys's life and art, and that his ecological campaigns reflected a new consciousness later termed ecoanimism.
Published on the 100th anniversary of the discovery of Tutankhamun’s tomb and the 200th anniversary of the deciphering of the Rosetta stone, this book responds to the ever-growing enthusiasm and curiosity for Egyptomania. This concept refers to a collective imagination which was nurtured throughout the 19th and 20th centuries by archaeological digs and exploratory trips. These key discoveries were crucial for creation and particularly for the Art Deco artists who found their inspiration in Egyptian lines and patterns. Art Déco & Egyptomanie explores the origins and functioning of this cultural and artistic movement shaped by many fields: architecture, cinema, sculpture, popular art, theatre and fashion. Art Déco & Egyptomanie comes with an explicit and previously unseen iconography. Text in French.
Women Photographers and Feminist Aesthetics makes the case for a feminist aesthetics in photography by analysing key works of twenty-two women photographers, including cis- and trans-woman photographers. Claire Raymond provides close readings of key photographs spanning the history of photography, from nineteenth-century Europe to twenty-first century Africa and Asia. She offers original interpretations of well-known photographers such as Diane Arbus, Sally Mann, and Carrie Mae Weems, analysing their work in relation to gender, class, and race. The book also pays close attention to the way in which indigenous North Americans have been represented through photography and the ways in which contemporary Native American women photographers respond to this history. Developing the argument that through aesthetic force emerges the truly political, the book moves beyond polarization of the aesthetic and the cultural. Instead, photographic works are read for their subversive political and cultural force, as it emerges through the aesthetics of the image. This book is ideal for students of Photography, Art History, Art and Visual Culture, and Gender.
This book explores the work of those artists who attempted to keep alive the expanded possibilities opened up by Cubism in Paris between 1911 and 1914. This little community of artists refused to accept that recording the war or producing propaganda was their duty. Instead, they kept faith in their independence as individuals as this war of machines threatened to rob every front-line soldier of his humanity and to draw the globe into unprecedented conflict. The vast majority of fit young Frenchmen were mobilized, so those artists left behind in Paris were either foreign or too old or unfit for combat. Pablo Picasso, then known as the inventor of Cubism, remained a prominent figure, alongside his fellow Spaniards Juan Gris and Maria Blanchard, the Mexican Diego Rivera, the Italian Gino Severini, the Lithuanian sculptor Jacques Lipchitz and the French painters Georges Braque, Henri Laurens, Fernand Leger and Henri Matisse. One focus of this book is the sheer diversity of the work produced by these artists; another is the move made by most of them toward a more structured, architectural Cubism, especially from 1917, which could be taken as reparation against the destructive forces that seemed to have taken over the whole world.
First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
This collection of essays considers artistic works that deal with the body without a visual representation. It explores a range of ways to represent this absence of the figure: from abject elements such as bodily fluids and waste to surrogate forms including reliquaries, manuscripts, and cloth. The collection focuses on two eras, medieval and modern, when images referencing the absent body have been far more prolific in the history of art. In medieval times, works of art became direct references to the absent corporal essence of a divine being, like Christ, or were used as devotional aids. By contrast, in the modern era artists often reject depictions of the physical body in order to distance themselves from the history of the idealized human form. Through these essays, it becomes apparent, even when the body is not visible in a work of art, it is often still present tangentially. Though the essays in this volume bridge two historical periods, they have coherent thematic links dealing with abjection, embodiment, and phenomenology. Whether figurative or abstract, sacred or secular, medieval or modern, the body maintains a presence in these works even when it is not at first apparent.
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