Matisse and Picasso achieved extraordinary prominence during their lifetimes. They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso, Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.
In September 1979, at age fifty-six, writer and artist Arturo Benvenuti fueled up his motor home and set forth on what he knew would be an emotional journey. His plan--his own Viae Crucis--was to meet with as many former prisoners of Nazi-fascist concentration camps as he could. He wanted not only to learn their stories, but to learn from their stories.He met with dozens of survivors from Auschwitz, Terez n, Mauthausen-Gusen, Buchenwald, Dachau, Gonars, Monigo, Renicci, Banjica, Ravensbr ck, Jasenovac, Belsen, and Gurs. Many of these men and women shared their memories with Benvenuti along with artwork they'd created during their internment with pencil, ink, and charcoal. After four decades of research, Benvenuti presented these original black-and-white pieces in Imprisoned. This stunning collection provides visuals that oftentimes even the most eloquent words and sentences cannot convey. In his foreword, chemist, writer, and Holocaust survivor Primo Levi highlighted the importance of these reproductions, stating, "some have the immediate power of art; all have the raw power of the eye that has seen and that transmits its indignation."
Explores the art form that exuded the economic and cultural confidence of the Victorian era. Surveys examples country by country in Europe and the US. Lists contemporary periodicals and exhibitions from 1851 to 1913. Annotation copyright Book News, Inc. Portland, Or.
Now in PaperbackIn Dime-Store Alchemy, poet Charles Simic reflects on the life and work of Joseph Cornell, the maverick surrealist who is one of America's great artists. Simic's spare prose is as enchanting and luminous as the mysterious boxes of found objects for which Cornell is justly renowned.
Contemporary art in the early twenty-first century is often discussed as if the very idea of art that is contemporary is new. Yet all works of art were once contemporary. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, and gives the contemporary its own art history. By exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture, Meyer retrieves moments in the history of once-current art and redefines "the contemporary" as a condition of being alive to and alongside other moments, artists, and objects.
A generous selection of images, many in color--from works of fine art to museum brochures and magazine covers--support and extend Meyer's narrative. These works were contemporary to their own moment. Now, in Meyer's account, they become contemporary to ours as well.
A pivotal figure of the Danish postwar avant-garde, Poul Gernes (1925-66) created brightly hued, constructivist-style abstractions both on canvas and in public spaces throughout Denmark. This volume documents his career.
How the 'Great War' influenced art: from Rodin to Duchamp and from Munch to Malevich With contributions from Luc Tuymans, Jeff Wall and Marlene Dumas In The Power of the Avant-Garde, contemporary artists from different art disciplines enter into dialogue with their colleagues from the historical avant-garde movement. Luc Tuymans talks about 'Le Grand Cheval' of Raymond Duchamp-Villon; Marlene Dumas describes her passion for Edvard Munch; John Baldessari discusses the genius Marcel Broodthaers, ... This book makes surprising links, shedding new light on the power and influence of art before, during and after World War I. Text in English, French, and Dutch."