In this prescient and beautifully written book, Booker Prize-winning author John Berger examines the life and work of Ernst Neizvestny, a Russian sculptor whose exclusion from the ranks of officially approved Soviet artists left him laboring in enforced obscurity to realize his monumental and very public vision of art. But Berger's impassioned account goes well beyond the specific dilemma of the pre-glasnot Russian artist to illuminate the very meaning of revolutionary art. In his struggle against official orthodoxy--which involved a face-to-face confrontation with Khruschev himself--Neizvestny was fighting not for a merely personal or aesthetic vision, but for a recognition of the true social role of art. His sculptures earn a place in the world by reflecting the courage of a whole people, by commemorating, in an age of mass suffering, the resistance and endurance of millions.
"Berger is probably our most perceptive commentator on art.... A civilized and stimulating companion no matter what subject happens to cross his mind."--Philadelphia Inquirer
From the fifteenth through the seventeenth centuries, Europe witnessed significant new developments in the science and art of perspective. This comprehensive and insightful book identifies and discusses the multiple discourses produced on perspective throughout this period by such authors as Leonardo da Vinci, Piero della Francesca, Albrecht D rer, Sebastiano Serlio, and Matteo Zaccolini.Fifteen distinguished scholars provide commentary on the complex history and variable nature of early modern perspective studies, addressing issues of reception, dissemination, citation, longevity, format, and imagery. These studies revise our understanding of how perspective theory and practice evolved over time and how this unique species of publication affected the course of art, architecture, and mathematics in early modern Europe.
Why did the Egyptians go to such effort to preserve their dead? How did they brew beer and furnish their houses? What would the great temple complex at Karnak have looked like? Why did Tutankhamun change his name? Packed with facts and superb illustrations, this extensively cross-referenced A-to-Z guide to the world's most intriguing civilization is now available in a compact, affordable paperback edition. Drawing on the vast resources of London's British Museum, the book is a mine of information on all aspects of the ancient Egyptian world. Clear explanations and descriptions of 600 major ideas, events, and personalities that shaped 4,000 years of life in the Nile valley are provided, and each entry is followed by a brief bibliography. Illustrated throughout with photographs, line drawings, site plans, and maps, and including the most up-to-date information, The Dictionary of Ancient Egypt is an invaluable resource.
The lively and intriguing tale of the competition between two artists, culminating in the construction of the Duomo in Florence, this is also the story of a city on the verge of greatness, and the dawn of the Renaissance, when everything artistic would change.
Florence's Duomo: the dome of the Santa Maria del Diore cathedral 埩s one of the most enduring symbols of the Italian Renaissance, an equal in influence and fame to Leonardo and Michaelangelo's works. It was designed by Filippo Brunelleschi, the temperamental architect who rediscovered the techniques of mathematical perspective. He was the dome's ⨮ventor,⟷hose secret methods for building remain a mystery as compelling to architects as Fermat's Last Theorem once was to mathematicians. Yet Brunelleschi didn't direct the construction of the dome alone. He was forced to share the commission with his archrival, the sculptor Lorenzo Ghiberti, whose ⏡radise Doors⟡re also masterworks. This is the story of these two men, a tale of artistic genius and individual triumph.
The lecturer traces the historical development of attitudes toward the arts over the past 150 years, suggesting that the present is a period of cultural liquidation, nothing less than the ending of the modern age that began with the Renaissance.
The illustrated account of the Group of Seven leader.
Lawren Harris was born into the enviable position of having the means to fully devote his life to his art. He was also born with vision, determination, and talent. As a result, Harris became the driving force and leading proponent of the Group of Seven. He was also an accomplished artist who captured the unique magnificence of Canadian life and landscape.
Born into the wealthy Harris family (of the Massey-Harris farm machinery company), Lawren was able to study art in Berlin and absorb the rich European art culture. Returning to Canada at 19, Harris quickly established himself as both an exciting new artist and the supporter of his fellow Canadian artists. Lawren became a founding member of the influential Arts and Letters Club in Toronto. He also purchased the now-famous studio on Severn Street to share with his friends and outfitted a railcar as a studio/living space that they used to tour Northern Ontario.
The art of Lawren Harris articulates a relentless enthusiasm for the Canadian North and his deeply-held spiritual beliefs. He constantly experimented with and explored the limits of his art. Though starting with a naturalistic approach, he eventually progressed to capturing more stylized expressions.
In this illustrated introduction to Harris's work, Joan Murray speaks eloquently about his art, life, and legacy. She traces his artistic development through the study of his paintings, drawing a lively picture of this energetic and charismatic individual who contributed so much to Canadian art.
The definitive chronicle of the origins of French avant-garde literature and art, Roger Shattuck's classic portrays the cultural bohemia of turn-of-the-century Paris who carried the arts into a period of renewal and accomplishment and laid the groundwork for Dadaism and Surrealism. Shattuck focuses on the careers of Alfred Jarry, Henri Rousseau, Erik Satie, and Guillaume Apollinaire, using the quartet as window into the era as he exploring a culture whose influence is at the very foundation of modern art.
The 23 essays (or "love songs") that make up the now classic volume Air Guitar trawl a "vast, invisible underground empire" of pleasure, through record stores, honky-tonks, art galleries, jazz clubs, cocktail lounges, surf shops and hot-rod stores, as restlessly on the move as the America they depict. Air Guitar pioneered a kind of plain-talking in cultural criticism, willingly subjective and always candid and direct. A valuable reading tool for art lovers, neophytes, students and teachers alike, Hickey's book--now in its eighth printing--has galvanized a generation of art lovers, with new takes on Norman Rockwell, Robert Mapplethorpe, Stan Brakhage, Andy Warhol and Perry Mason. In June 2009, Newsweek voted Air Guitar one of the top 50 books that "open a window on the times we live in, whether they deal directly with the issues of today or simply help us see ourselves in new and surprising ways," and described the book as "a seamless blend of criticism, personal history, and a deep appreciation for the sheer nuttiness of American life."Dave Hickey (born 1939) is one of today's most revered and widely read art writers. He has written for Rolling Stone, Art News, Art in America, Artforum and Vanity Fair among many others.