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Picasso - El Greco (Hardcover)
Carmen Gimenez, Josef Helfenstein; Text written by Gabriel Dette, Carmen Gimenez, Olga Osadtschy, …
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R1,172
Discovery Miles 11 720
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Ships in 12 - 17 working days
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Some 40 carefully chosen juxtapositions of masterpieces by both
artists trace a dialogue that ranks among the most fascinating in
art history. This publication brings Pablo Picasso's (1881-1973)
encounter with the Cretan-born old master Domenikos Theotokopoulos,
better known as El Greco (1541-1614), vividly to life. El Greco's
unmistakable painting style won him considerable fame in his day.
Soon after his death, however, his work was largely forgotten. It
was only around 1900 that an El Greco revival was launched, with
Picasso serving on the front lines. His engagement with the
Greek-Spanish master not only went far deeper than has previously
been assumed but also lasted much longer. From his first encounter
with El Greco's works shortly before 1900 until the end of his
life, Picasso not only referenced but engaged in a fascinating
artistic dialogue with the old master.
As one of the founding figures of Impressionism, Camille Pissarro
exerted considerable influence over the movement's other members,
such as Paul Cezanne, Claude Monet, Paul Gauguin, Edgar Degas, and
Mary Cassatt. This publication focuses on Pissarro's collaborations
with these and other artists. It also celebrates the avant-garde
quality of his painting, particularly in his contributions to
Neo-Impressionism. Focusing on his role in the revolutionary
Impressionist movement of the 1870s, the book traces Pissarro's
work in dialog with his fellow artists, particularly Cezanne and
Gauguin, and also reveals his influence on works by Alfred Sisley,
Georges Seurat, Paul Signac and others. In addition to pages of
exquisite reproductions of works by Pissarro and his
contemporaries, this volume features illuminating essays on
fascinating aspects of the life and work of this prolific artist.
Readers will come away with a new understanding of how Pissarro's
unique talent for collaboration and unity was vital to the
development of French painting in the late 19th century.
At the beginning of the 20th century, a group of artists around
Henri Matisse and André Derain were carrying out revolutionary
colour experiments. The art critic Louis Vauxcelles gave them their
name in 1905: the "Fauves". Translated into English, this means
something like "beasts" or "wild animals". This catalogue is being
published for the first survey exhibition on the Fauves staged in
Switzerland for decades. It presents the expressive painting style
and unusual colour combinations employed by Matisse, Derain and
their companions in the years 1904 to 1908, situating them in the
aesthetic and socio-political debates of that time. The male
connotation of the term Fauves already suggests the exclusion of
women artists on a conceptual level. The exhibition and catalogue
challenge this traditional view and draw attention to female
protagonists on the Paris art scene. Richly illustrated and
supplemented by new art-historical research contributions, the
publication offers an insight into the diversity of the colourful
painting by the "beasts". Fauvism – the first avantgarde movement
of the 20th century Brilliant colour experiments in a break with
academic conventions Exhibition: 02.09.2023–21.01.2024,
Kunstmuseum Basel, New Building
American artist Walter De Maria is associated with Minimal,
conceptual, installation, and land art. He is best known for The
Lightning Field, 1977, a long-term installation in western New
Mexico made up of four hundred pointed stainless steel poles
arranged in a grid over an area measuring one mile by one
kilometer. Despite the role he has played in contemporary art over
the past fifty years, few books have been dedicated to the artist.
Featuring new paintings and sculptures and never before published
texts, this volume explores in detail the works in the artist's
first major museum exhibition in the United States: "Walter De
Maria: Trilogies" at the Menil Collection. In the expansive new
work the Bel Air Trilogy, 2000-11, De Maria has combined exacting
geometry with the entirely unexpected element of three impeccably
restored 1955 Chevrolet Bel Air two-tone hardtops. Each car is
pierced by a twelve-foot-long stainless steel rod in the shape of a
circle, square, or triangle that runs through the front and rear
windshields. The Bel Air Trilogy is joined by De Maria's austere
tripartite sculpture with moveable spheres, the Channel Series,
1972, and The Statement Series, 1968/2011. Building upon his
large-scale 1968 canvas The Color Men Choose When They Attack The
Earth, for The Statement Series, the artist created two additional
monochrome paintings with engraved stainless steel plates that
complement the original piece. The works in this volume are a
testament to De Maria's ongoing investigation of the conceptual,
the dramatic, the monumental, the minimal, and the real. Together
these three trilogies challenge and broaden our understanding of
the artist's work. Distributed for The Menil Collection Exhibition
Schedule: The Menil Collection(09/16/11-01/08/12)
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Andrea Buttner
Josef Helfenstein, Maja Wismer, Susanne Gaensheimer, Isabelle Malz; Text written by Andrea Büttner, …
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R1,247
Discovery Miles 12 470
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Ships in 12 - 17 working days
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Visualizing Hidden Structures in Art and Society In her artistic
practice, Andrea Buttner combines art history with social and
ethical issues. Since the early 2000s, she has been exploring a
wide range of themes such as work, poverty, shame and care in
monastic forms of coexistence, but also arts and crafts as a
political field. Examining the ambivalent tension between
aesthetics and ethics, the internationally renowned artist uses
various conceptual methods. Best known for her large-scale
woodcuts, Buttner has since used a variety of media, including
etching, painting, photography and video installations, glass art
and textiles. For her publications and exhibitions, Buttner
composes her works thematically to create site-specific
installations that can be experienced as gradually unfolding
narratives.
A time of new beginnings In 1969, Franz Gertsch painted
Huaa...!—which shows a wildly galloping man on horseback—after
a film still from a magazine. Photographs have formed the basis for
his work ever since, which he almost always takes himself. They
include snapshots of the young Gertsch family, pictures from a trip
to the South of France, photos of his encounters with Luciano
Castelli and his dazzling circle of friends, and portraits of Patti
Smith. This publication shows key works from the seventies, both in
full views and with details in original size. Zeroing in on these
almost abstract-looking details reveals the vibrant quality of the
painting with its shimmering surfaces. FRANZ GERTSCH (b. 1930)
celebrated his 90th birthday in 2020. With his participation in the
documenta in Kassel in 1972 he rose to international fame as a
Swiss Photorealist. The paintings in this book were done during
this decisive creative phase. Exhibition An exhibition by the
Museum Franz Gertsch in cooperation with the LENTOS Kunstmuseum
Linz. Languages: German and English
At the beginning of the 20th century, a group of artists around
Henri Matisse and André Derain were carrying out revolutionary
colour experiments. The art critic Louis Vauxcelles gave them their
name in 1905: the "Fauves". Translated into English, this means
something like "beasts" or "wild animals". This catalogue is being
published for the first survey exhibition on the Fauves staged in
Switzerland for decades. It presents the expressive painting style
and unusual colour combinations employed by Matisse, Derain and
their companions in the years 1904 to 1908, situating them in the
aesthetic and socio-political debates of that time. The male
connotation of the term Fauves already suggests the exclusion of
women artists on a conceptual level. The exhibition and catalogue
challenge this traditional view and draw attention to female
protagonists on the Paris art scene. Richly illustrated and
supplemented by new art-historical research contributions, the
publication offers an insight into the diversity of the colourful
painting by the "beasts". Fauvism – the first avantgarde movement
of the 20th century Brilliant colour experiments in a break with
academic conventions Exhibition: 02.09.2023–21.01.2024,
Kunstmuseum Basel, New Building
This is the first major exploration of the works of American
abstract painter and watercolorist Suzan Frecon (b. 1941),
critically acclaimed for her sensitive arrangement of color, form,
and texture, and for the philosophical resonance of her art. By
restricting herself to nonrepresentational forms, earth-based
colors, and, in the case of her watercolors, "found" pieces of
paper, Frecon achieves an unequaled sense of balance and openness
in her work. The book features ten oil paintings and thirty
watercolors dating from the late 1990s to 2007. form, color,
illumination celebrates the uniqueness of Frecon's painting and
articulates how her work distinguishes itself within the history of
abstract painting. The authors describe in-depth how her artistic
process and materials are an integral part of her focus and
aesthetic. Included is an essay revealing the "ethics" of her
aesthetics--an argument for abstraction and an attention to truth
that is not divorced from social and environmental concerns.
Distributed for The Menil Collection Exhibition Schedule: The Menil
Collection, Houston (March 6 - May 11, 2008) Kunstmuseum Bern (June
11 - September 28, 2008)
The first comprehensive look at Rauschenberg's Cardboard series, a
previously unexplored realm of the artist's oeuvre Robert
Rauschenberg (b. 1925) began to investigate the boundaries between
painting and sculpture in the 1950s, working with a variety of
found objects in his Combine paintings and freestanding Combines.
Later, in his Cardboard series (1971-72), he confined himself to
the use of cardboard boxes, eliminating virtually all imagery,
reducing the palette to a near monochrome, and commenting in subtle
ways on the materialism and disposability of modern life. This book
is the first to focus exclusively on Rauschenberg's rarely seen
Cardboards, along with related works from his Made in Tampa Clay,
Cardbirds, Egyptian, and Venetian series. Approximately
eighty-eight Cardboards and related sculptural pieces, many from
the artist's personal collection, are reproduced in the book. Full
provenance and exhibition history are provided for each work, along
with a complete bibliography. In addition, distinguished scholar
Yve-Alain Bois offers an insightful essay that discusses the
Cardboards and situates these lesser-known but critical pieces
within the context of Rauschenberg's long and creative career.
Distributed for The Menil Collection Exhibition Schedule: The Menil
Collection, Houston (February 23 - May 13, 2007)
The Cubist Cosmos traces the development of Cubism between 1907 and
1917. The publication reveals the boundless innovative power of the
works of Pablo Picasso and Georges Braque. It also shows how the
Cubist pictorial language was received and advanced by the artists
of the Parisian avant-garde – such as Fernand Léger and Sonia
Delaunay – and how it evolved into colourful large-format
pictures. The volume reflects not only the enormous range of this
stylistic direction but also its revolutionary potential, which
went on to influence the further development of twentieth-century
art. In chronologically and thematically devised chapters the
publication shows how the influence of folk art and archaic
sculpture as well as the works of Paul Cezanne initially became
increasingly evident in the paintings of Picasso and Braque. From
1908 crystalline, geometric elements as it were, appear. Until 1911
the characteristic prismatically fragmented forms and an almost
colourless austerity dominated. The new pictorial language was
taken up by artists like Juan Gris, Fernand Leger, Robert and Sonia
Delaunay and Henri Le Fauconnier, who developed and presented it in
large formats in the Salon exhibitions of the Paris art world.
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Nadine Gordimer
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R398
R330
Discovery Miles 3 300
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