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Books > Arts & Architecture > History of art / art & design styles > From 1900 > General
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.
Swiss artist Meret Oppenheim (1913–1985) is far more than just
the creator of the iconic fur teacup. In the course of her career
she produced a complex, wide-ranging, and enigmatic body of work
that has no parallel in modern art. Like an x-ray beam, this book
scans Oppenheim’s artistic oeuvre, bringing its variety,
playfulness, and poetry to the fore. Instead of simply answering
the riddles posed by these intriguing works, it maps out the paths
that will lead us to still more clues. Simon Baur is a leading
expert in the life and art of Meret Oppenheim. The nine new essays
featured in this volume are at once scholarly and easy to read. In
them, Baur shares the many fascinating insights and interpretations
that he has gleaned from his decades-long engagement with
Oppenheim’s work. The result is an anthology that combines both
biographical and thematic aspects and takes us on an exciting
journey into the poetic cosmos of a truly great female artist.
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.
A selection of key essays by one of the most influential voices in
art history, including seven previously unpublished pieces. This
illustrated, edited collection of essays brings together for the
first time some of the pioneering art historian Linda Nochlin's
most important writings on modernism and modernity from across her
six-decade career. Before the publication of her seminal tract on
feminism in art, 'Why Have There Been No Great Women Artists?',
Nochlin had already firmly established herself as a major
practitioner of a politically sophisticated and class-conscious
social art history, with her writings on modernism being
transformative to the discipline. Nochlin embraced Charles
Baudelaire's conviction that modernity meant to be of one's time -
and that the role of an art historian was to understand the art of
the past not only in its own historical context, but according to
the urgencies of the contemporary world. From academic debates
about the nude in the 18th century to the work of Robert Gober in
the 21st, whatever she turned her analytic eye to was very much
conceived as the art of the now - the art we need to look at to
navigate the complexities and contradictions of the present.
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Winslow Homer
- Crosscurrents
(Hardcover)
Stephanie L. Herdrich, Sylvia Yount; Contributions by Daniel Immerwahr, Christopher Riopelle, Gwendolyn DuBois Shaw
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R1,259
Discovery Miles 12 590
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Ships in 12 - 17 working days
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This timely study of Winslow Homer highlights his imagery of the
Atlantic world and reveals themes of racial, political, and natural
conflict across his career Long celebrated as the quintessential
New England regionalist, Winslow Homer (1836-1910) in fact brushed
a much wider canvas, traveling throughout the Atlantic world and
frequently engaging in his art with issues of race, imperialism,
and the environment. This publication focuses, for the first time,
on the watercolors and oil paintings Homer made during visits to
Bermuda, Cuba, coastal Florida, and the Bahamas. Among these, The
Gulf Stream (1899), often considered the most consequential
painting of his career, reveals Homer's lifelong fascination with
struggle and conflict. Recognizing the artist's keen ability to
distill complex issues, Winslow Homer: Crosscurrents upends popular
conceptions and convincingly argues that Homer's work resonates
with the challenges of the present day. Published by The
Metropolitan Museum of Art/Distributed by Yale University Press
Exhibition Schedule: The Metropolitan Museum of Art, New York
(April 11-July 31, 2022) National Gallery, London (September 10,
2022-January 8, 2023)
Almost nine million people from all over the world flock to the
Louvre in Paris every year to see its incomparable art collection.
Yet few, if any, are aware of the remarkable history of that
location and of the buildings themselves, and how they chronicle
the history of Paris itself-a fascinating story that historian
James Gardner elegantly tells for the first time. Before the Louvre
was a museum, it was a palace, and before that a fortress. But much
earlier still, it was a place called le Louvre for reasons unknown.
People had inhabited that spot for more than 6,000 years before
King Philippe Auguste of France constructed a fortress there in
1191 to protect against English soldiers stationed in Normandy. Two
centuries later, Charles V converted the fortress to one of his
numerous royal palaces. After Louis XIV moved the royal residence
to Versailles in 1682, the Louvre inherited the royal art
collection, which then included the Mona Lisa, given to Francis by
Leonardo da Vinci; just over a century later, during the French
Revolution, the National Assembly established the Louvre as a
museum to display the nation's treasures. Subsequent leaders of
France, from Napoleon to Napoleon III to Francois Mitterand, put
their stamp on the museum, expanding it into the extraordinary
institution it has become. With expert detail and keen admiration,
James Gardner links the Louvre's past to its glorious present, and
vibrantly portrays how it has been a witness to French history -
through the Napoleonic era, the Commune, two World Wars, to this
day - and home to a legendary collection whose diverse origins and
back stories create a spectacular narrative that rivals the
building's legendary stature.
Robin Walz's updated Modernism, now part of the Seminar Studies
series, has been updated to include significant primary source
material and features to make it more accessible for students
returning to, or studying the topic for the first time. The
twentieth century was a period of seismic change on a global scale,
witnessing two world wars, the rise and fall of communism, the
establishment of a global economy, the beginnings of global warming
and a complete reversal in the status of women in large parts of
the world. The modernist movements of the early twentieth century
launched a cultural revolution without which the multi-media-driven
world in which we live today would not have been possible. Today
modernism is enshrined in art galleries and university courses. Its
techniques of abstraction and montage, and its creative impulse to
innovate and shock, are the stock-in-trade of commercial
advertising, feature films, television and computer-generated
graphics. In this concise cultural history, Robin Walz vividly
recaptures what was revolutionary about modernism. He shows how an
aesthetic concept, arising from a diversity of cultural movements,
from Cubism and Bauhaus to Abstract Expressionism and Pop Art, and
operating in different ways across the fields of art, literature,
music, design and architecture, came to turn intellectual and
cultural life and assumptions upside down, first in Europe and then
around the world. From the nineteenth century origins of modernism
to its postmodern legacies, this book will give the reader access
to the big picture of modernism as a dynamic historical process and
an unfinished project which still speaks to our times.
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Haring
(Hardcover)
Alexandra Kolossa
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R476
R393
Discovery Miles 3 930
Save R83 (17%)
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Ships in 9 - 15 working days
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One of the key figures in the New York art world of the 1980s,
Keith Haring (1958-1990) created a signature style that blended
street art, graffiti, a Pop sensibility, and cartoon elements to
unique, memorable effect. With thick black outlines, bright colors,
and kinetic figures, his public (and occasionally illegal)
interventions, sculptures, and works on canvas and paper have
become instantly recognizable icons of 20th-century visual culture.
From his first chalk drawings in the New York City subway stations,
to his renowned "Radiant Baby" symbol, and his commissions for
Swatch Watch and Absolut Vodka, Haring's work was both emblematic
of the manic work ethic of 1980s New York, yet distinctive for its
social awareness. Belying their bright, playful aesthetics, his
pieces often tackled intensely controversial socio-political
issues, including racism, capitalism, religious fundamentalism, and
the increasing impact of AIDS on New York's gay community, the
latter foreshadowing his own death from the disease in 1990. In
this vivid introduction to Haring's work, we explore the dynamic
life and innovative spirit of this singular artist, who spent
little more than a decade in the spotlight, but through the
accessibility of his visual vocabulary and the strength of his
political commitment became one of the most significant artists to
emerge from New York's vibrant, downtown community. About the
series Born back in 1985, the Basic Art Series has evolved into the
best-selling art book collection ever published. Each book in
TASCHEN's Basic Art series features: a detailed chronological
summary of the life and oeuvre of the artist, covering his or her
cultural and historical importance a concise biography
approximately 100 illustrations with explanatory captions
A radically new interpretation of Picasso's life and work by an
important Jungian scholar, The Psychological Roots of Modernism is
an exciting contribution to the fields of both Jungian psychology
and cultural criticism. All of Picasso's major works, from the Blue
period masterpieces to the abstractions of mature Cubism, are
examined as part of a single narrative which directly challenges
our assumptions, and the views of a number of prominent art
historians, and provides an entirely new perspective on the
signature achievements of the modernist movement. Beginning with
Picasso's first months in Paris, the author shows how Picasso's art
evolved as a hero's journey, involving encounter with the
unconscious, the emergence of a strengthened ego, and the eventual
balance of the ego and the unconscious which attained visible
expression in the forms of Cubism. Through the Jungian framework,
the reader is able to understand how not only Picasso's art, but
his relations to his mistress and colleagues, his changing
lifestyle and work habits, and his attraction to major Modernist
figures like Rousseau and Cezanne were expressions of this
psychological transformation. While using Jung to illuminate
Picasso, The Psychological Roots of Modernism also employs Picasso
to illuminate Jung, providing the clearest and most compelling
support for the bedrock principles of analytical psychology. The
book's powerful application of Jung's psychology and its radically
new perspectives on Picasso's art make it essential reading for
students in the fields of art history and Freudian and Jungian
psychology.
In 1797 Friedrich Schlegel wrote that "philosophy of art usually
lacks one of two things: either the philosophy, or the art." This
collection of essays contains both the philosophy and the art. It
brings together an international team of leading philosophers to
address diverse philosophical issues raised by recent works of art.
Each essay engages with a specific artwork and explores the
connection between the image and the philosophical content.
Thirteen contemporary philosophers demonstrate how philosophy can
aid interpretation of the work of ten contemporary artists,
including: Jesse Prinz on John Currin Barry C. Smith and Edward
Winters on Dexter Dalwood Lydia Goehr and Sam Rose on Tom de
Freston Raymond Geuss on Adrian Ghenie and Chantal Joffe Hallvard
Lillehammer on Paul Noble M. M. McCabe and Alexis Papazoglou on Ged
Quinn Noel Carroll on Paula Rego Simon Blackburn and Jerrold
Levinson on George Shaw Sondra Bacharach on Yue Minjun. The
discussion ranges over ethical, political, psychological and
religious concepts, such as irony, disgust, apathy, inequality,
physiognomy and wonder, to historical experiences of war,
Marx-inspired political movements and Thatcherism, and standard
problems in the philosophy of art, such as expression, style,
depiction and ontology of art, as well as major topics in art
history, such as vanitas painting, photography, pornography, and
Dadaism. Many of the contributors are distinguished in areas of
philosophy other than aesthetics and are writing about art for the
first time. All show how productive the engagement can be between
philosophy, more generally, and art.
Modern matters: A blow-by-blow account of groundbreaking
modernismMost art historians agree that the modern art adventure
first developed in the 1860s in Paris. A circle of painters, whom
we now know as Impressionists, began painting pictures with rapid,
loose brushwork. They turned to everyday street life for subjects,
instead of overblown heroic scenes, and they escaped the power of
the Salon by organizing their own independent exhibitions.After
this first assault on the artistic establishment, there was no
holding back. In a constant desire to challenge, innovate, and
inspire, one modernist style supplanted the next: Symbolism,
Expressionism, Futurism, Dada, Abstract Art, renewed Realism,
Surrealism, Abstract Expressionism, Pop, Minimal and conceptual
practice.This indispensable overview traces the restless energy of
modern art with a year-by-year succession of the groundbreaking
artworks that shook standards, and broke down barriers.
Introductory essays outline the most significant and influential
movements alongside explanatory texts for each major work and its
artist.About the series: Bibliotheca Universalis Compact cultural
companions celebrating the eclectic TASCHEN universe at an
unbeatable, democratic price!Since we started our work as cultural
archaeologists in 1980, the name TASCHEN has become synonymous with
accessible, open-minded publishing. Bibliotheca Universalis brings
together nearly 100 of our all-time favorite titles in a neat new
format so you can curate your own affordable library of art,
anthropology, and aphrodisia.Bookworm s delight never bore, always
excite!"
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On Art
(Paperback)
Ilya Kabakov; Edited by Matthew Jesse Jackson
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R1,089
Discovery Miles 10 890
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Ships in 12 - 17 working days
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During the 1960s and 1970s, the Russian conceptual artist Ilya
Kabakov was a galvanizing figure in Moscow's underground art
community, ultimately gaining international prominence as the
“leader” of a band of artists known as the Moscow Conceptual
Circle. Throughout this time, he created texts that he would
distribute among his friends, and by the late 1990s his written
production amounted to hundreds of pages. Devoted to themes that
range from the “cosmism” of pre-Revolutionary Russian modernism
to the philosophical implications of Moscow’s garbage,
Kabakov’s handmade booklets were typed out on paper, then stapled
or sewn together using rough butcher paper for their covers. Among
these writings are faux Socialist Realist verses, theoretical
explorations, art historical analyses, accompaniments to
installation projects, and transcripts of dialogues between the
artist and literary theorists, critics, journalists, and other
artists. This volume offers for the first time in English the most
significant texts written by Kabakov. The writings have been
expressly selected for this English-language volume and there
exists no equivalent work in any language.
Hopper is generally considered the major twentieth-century realist.
Such paintings as House by the Railroad, Early Sunday Morning, and
Nighthawks seem to embody the very character of our time. Yet few
people have penetrated the mask of Hopper's public image. Here,
Gail Levin has gone beyond the standard evaluations of the man and
his work to investigate the authentic identity of the artist and
the way his personality informed his art. She has uncovered aspects
of Hopper's life (and even unknown works) that provide the first
comprehensive view of the artists early development. The
fascinating and often poignant story of Hopper's long struggle for
recognition gives new insight into his later pessimism. A complex
man is revealed, introspective and intellectual, yet romantic,
illuminating the many levels of meaning in the paintings of his
maturity. In addition to Hopper's watercolors and oil paintings,
there are study drawings for his major works and documentary
photographs illuminating all phases of his life.
An exhibition of images from the book will be shown at the National
Portrait Gallery in summer 2008. This stunningly illustrated volume
offers a visual survey of 33 of the most original and provocative
artists of our time. Here, we see them in their working environment
- in moments of concentration, inspiration, and relaxation.
McCAbe's photographs offer a revealing insight into the lives and
work of the artists, while McNay skillfully extracts details about
their craft, workplace, and personality - alongside his own candid
observations on each subject.
A revelatory resituation of Van Gogh's familiar works in the
company of the surprising variety of nineteenth-century art and
literature he most revered Vincent van Gogh's (1853-1890)
idiosyncratic style grew out of a deep admiration for and
connection to the nineteenth-century art world. This fresh look at
Van Gogh's influences explores the artist's relationship to the
Barbizon School painters Jean-Francois Millet and Georges
Michel-Van Gogh's self-proclaimed mentors-as well as to Realists
like Jean-Francois Raffaelli and Leon Lhermitte. New scholarship
offers insights into Van Gogh's emulation of Adolphe Monticelli,
his absorption of the Hague School through Anton Mauve and Jozef
Israels, and his keen interest in the work of the Impressionists.
This copiously illustrated volume also discusses Van Gogh's
allegiance to the colorism of Eugene Delacroix, as well as his
alliance with the Realist literature of Charles Dickens and George
Eliot. Although Van Gogh has often been portrayed as an insular and
tortured savant, Through Vincent's Eyes provides a fascinating deep
dive into the artist's sources of inspiration that reveals his
expansive interest in the artistic culture of his time. Published
in association with the Santa Barbara Museum of Art Published in
association with the Santa Barbara Museum of Art Exhibition
Schedule: Columbus Museum of Art (November 12, 2021-February 6,
2022) Santa Barbara Museum of Art (February 27-May 22, 2022)
Pablo Picasso andy Warhol, Frida Kahlo . . . so many great artists
have shared one very special love: the companionship of cats.
Gathered here for the first time are behind-thescenes stories of
more than 50 famous artists and their feline friends. From Salvador
Dali's pet ocelot Babou to John Lennon and Yoko Ono's menagerie of
cats, including Salt (who was black) and Pepper (who was white),
Artists and Their Cats captures these endearing friendships in
charming photographs and engaging text and reveals what creative
souls and the animals best known for their independent spirits have
in common. In this clever compilation, art aficionados will
discover a softer side of their favourite artists and cat lovers
will enjoy a whole new way to celebrate their favourite furry
friends.
Published to accompany the exhibition at the Museum of Fine Arts,
Boston, and the Metropolitan Museum of Art, this catalogue examines
the impact of Futurism and Cubism on British modernist printmaking
from the beginning of World War I to the beginning of World War II.
Imagery ranges from powerful artistic impressions of the first
fully mechanized war, to radical geometric abstractions, to the
colourful, streamlined jazz age images of speed, sport and
diversion which the Grosvenor School artists created in order to
introduce a broader public to modern art and design. Interest in
this era is peaking among collectors, curators and art historians
and this is an ideal moment to introduce these innovative British
printmakers to a wider public.
In the turbulent atmosphere of early twentieth-century Tsarist
Russia, avant-garde artists took advantage of a newly pluralistic
culture in order to challenge orthodoxies of form as well as social
prohibitions. Very few did this as effectively, or to as broad an
audience, as Mikhail Larionov. This groundbreaking study examines
the complete range of his work (painting, book illustration,
performance, and curatorial work), and demonstrates that Larionov
was taking part in a broader cultural conversation that arose out
of fundamental challenges to autocratic rule. Sarah Warren brings
the culture of late Imperial Russia out of obscurity, highlighting
Larionov's specific interventions into conversations about
nationality and empire, democracy and autocracy, and people and
intelligentsia that colonized all areas of cultural production.
Rather than analyzing Larionov's works within the same interpretive
frameworks as those of his contemporaries in France or Germany-such
as Matisse or Kirchner-Warren explores the Russian's negotiations
with both nationalism and modernism. Further, this study shows that
Larionov's group exhibitions, public debates, and face-painting
performances were more than a derivative repetition of the
techniques of the Italian Futurists. Rather, these activities were
the culmination of his attempt to create a radical primitivism, one
that exploited the widespread Russian desire for an authentic
collective identity, while resisting imperial efforts to
appropriate this revivalism to its own ends.
This book is based on the artwork of Sue Jane Taylor. She is no
stranger to extreme working environments, having worked for over
thirty years recording the lives of workers in the North Sea oil
industry on sites such as Piper Alpha, Piper B, Forties platforms
and recently Murchison in the Northern Seas. Her work now extends
to the offshore renewable energy industry. The book brings a unique
perspective to the relationship between art, environment and
industry while revealing a relatively alien way of life on board a
North Sea oil platform. Among other themes it will consider the
future of energy in Scotland. The book has an introductory essay by
Elsa Cox, Senior Curator of Technology at National Museums
Scotland, illustrated by relevant objects from the collections in
the National Museum. This is followed by Sue Jane Taylor's artwork,
with extended captions.
All cultures make, and break, images. Striking Images, Iconoclasms
Past and Present explores how and why people have made and modified
images and other cultural material from pre-history into the 21st
century. With its impressive chronological sweep and disciplinary
breadth, this is the first book about iconoclasm (the breaking of
images) and the transformation of broader sets of signs that
includes contributions from archaeologists, curators, and museum
conservators as well as historians of art, literature and religious
studies. The chapters examine themes critical to the study of
iconoclasm: violence, punishment, memory, intentionality, ruins and
relics and their survival. The conclusion shows how
cross-disciplinary debate amongst the contributors informed Tate
Britain's 'Art under Attack' exhibition (2013) and addresses the
challenges iconoclasm presents to the modern museum. By juxtaposing
objects and places usually considered in isolation, Striking Images
raises provocative questions about our understandings of
cross-cultural differences and the value of representational
objects from the broken swords of pre-historical bog graves to the
Bamiyan Buddhas and contemporary art. Are any such objects ever
'finished', or are they simply subject to constant transformation?
In dialogue with each other, the essays consider this question and
expand the field of iconoclasm - and cultural - studies.
The significant influence of the periodical Signature on fine art
has long been overlooked. While few people nowadays will have read
it, no journal has greater claim to have stimulated the taste that
became British neo-romanticism in the mid-20th century. Oliver
Simon, its editor, publisher, patron and printer was something of
an enigma. Although shy, he somehow knew 'everyone' in the London
literary and arts scene during the 1930s and 40s. So outwardly
conservative to be dubbed 'the archbishop' by Ben Nicholson, Oliver
elicited adventurous art from his artist contributors to Signature.
The Signature artists were fellow travellers on a journey: young
artists working in commercial art to pay the bills. Having mastered
graphic techniques for applied purposes they then began to apply
what they learned to their own artwork. Then they went off to
War... Those interested in the work of Paul Nash, John Piper,
Graham Sutherland, Edward Bawden, and Barnett Freedman will enjoy
the story of the influence and fellowship of Oliver Simon,
Signature, and the Curwen Press, on their art.
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