The story of one of the most famous statues in history is fully told here, from the unearthing of the statue in 1820 through quibbles among the French, Germans, and Turks, over who should possess her.
The avant-garde movements of Central Europe were an integral part of modernism's evolution as it reached its peak throughout the continent during the 1920s. Written documents--manifestoes, artists' statements, and reviews--were the lifeblood of these movements and, during the periods when political events conspired to isolate them, one of their few means of communication and exchange. Much of this crucial evidence has become lost to us, and the artistic avant-gardes of Central Europe have been a blind spot of modernist studies. Until their narratives have been recovered, the story of modernism will remain incomplete. In this book an international team of scholars has selected an essential compendium of documents that take an important step toward regaining this lost perspective. Between Worlds contains primary documents of the avant-gardes in Austria, the Czech lands, Germany, Hungary, Poland, Romania, and Yugoslavia from 1910 to 1930. The manifestoes and magazines of Western European radical art circles are well known to Western scholars, but few have researched the pages of magazines such as Zenit, Integral, Punct, 75 HP, Tank, and Ma. We know about Italian Futurism but not about Polish Futurism. Few Westerners are aware that French surrealist magazines drew much of their inspiration from Czech publications. The hundreds of documents in the book, almost all of them translated into English for the first time, bring back into circulation landmark texts by the major writers, editors, artists, magazines, and movements of Central Europe. With this publication they are restored to their rightful place in the pantheon of modernism. Between Worlds is distributed for the Los Angeles County Museum of Art.
A single-volume anthology of acclaimed writings on the world of fine arts ranges from ancient times to the present day as it includes essays by Adolf Hitler on the degeneracy of modernism, Vasari and Freud on why the Mona Lisa smiles, and other works by art historians, critics, artists, and other notable authors. Original.
An account of the development of Greek art in the Classical period (about 480-320 BC) which places particular emphasis on the meaning and content of Greek sculpture, architecture and painting. Professor Pollitt reminds us that the visual arts in Greece, as elsewhere, were primarily vehicles of expression. He does not ignore formal development but always relates this to social and cultural history, which it reflected and from which it grew. While his subject is art, he refers frequently to the literature and philosophy of the period which were shaped by the same influences.
This intriguing book on Goya concentrates on the closing years of the eighteenth century as a neglected milestone in his life.Goya waited until 1799 to publish his celebrated series of drawings, the Caprichos, which offered a personal vision of the world turned upside down. Victor I. Stoichita and Anna Maria Coderch consider how themes of Revolution and Carnival (both seen as inversions of the established order) were obsessions in Spanish culture in this period, and make provocative connections between the close of the 1700s and the end of the Millennium. Particular emphasis is placed on the artist's links to the underground tradition of the grotesque, the ugly and the violent. Goya's drawings, considered as a personal and secret laboratory, are foregrounded in a study that also reinterprets his paintings and engravings in the cultural context of his time.
Published to accompany the second season of the PBS television series, this illustrated book offers a glimpse into the life stories, sources of inspiration and creative processes of some of the most interesting contemporary artists working in America. theme. The artists interviewed in this second volume are: Trenton Doyle Hancock, Kiki Smith, Do-Ho Suh and Kara Walker for Stories; Gabriel Orozco, Janine Antoni, Martin Puryear and Collier Schorr for Loss and Desire; Eleanor Antin, Elizabeth Murray, Walton Ford and Raymond Pettibon for Humour; and Vija Celmins, Tim Hawkinson, Brice Marden and Paul Pfeiffer for Time. photographs were taken especially for this book, and Susan Sollins, the executive producer of the television series, interviews the artists and provides an introductory essay.
Why did medieval dramatists weave so many scenes of torture into their plays? Exploring the cultural connections among rhetoric, law, drama, literary creation, and violence, Jody Enders addresses an issue that has long troubled students of the Middle Ages. Theories of rhetoric and law of the time reveal, she points out, that the ideology of torture was a widely accepted means for exploiting such essential elements of the stage and stagecraft as dramatic verisimilitude, pity, fear, and catharsis to fabricate truth. Analyzing the consequences of torture for the history of aesthetics in general and of drama in particular, Enders shows that if the violence embedded in the history of rhetoric is acknowledged, we are better able to understand not only the enduring theater of cruelty identified by theorists from Isidore of Seville to Antonin Artaud, but also the continuing modern devotion to the spectacle of pain.
Responding to the need she so clearly perceives, Ms. Dondis, a designer and teacher of broad experience, has provided a beginning text for art and design students and a basic text for all other students; those who do not intend to become artists or designers but who need to acquire the essential skills of understanding visual communication at a time when so much information is being studied and transmitted in non-verbal modes, especially through photography and film. Understanding through seeing only seems to be an obviously intuitive process. Actually, developing the visual sense is something like learning a language, with its own special alphabet, lexicon, and syntax. People find it necessary to be verbally literate whether they are "writers": or not; they should find it equally necessary to be visually literate, "artists" or not. This primer is designed to teach students the interconnected arts of visual communication. The subject is presented, not as a foreign language, but as a native one that the student "knows" but cannot yet "read." The analogy provides a useful teaching method, in part because it is not overworked or too rigorously applied. This method of learning to see and read visual data has already been proved in practice, in settings ranging from Harlem to suburbia. Appropriately, the book makes some of its most telling points through visual means. Numerous illustrated examples are employed to clarify the basic elements of design (teach an alphabet), to show how they are used in simple syntactic combinations ("See Jane run."), and finally, to present the meaningful synthesis of visual information that is a finished work of art (the apprehension of poetry...).
First published in 1995, this gives new insight into the Bloomsbury group of writers and artists. The book traces the group from its beginnings in the early 20th century to the old age of its founders and the legacy that lives on. Illustrated throughout, this is a collection of portrait studies, decorative images, line drawings and photos.