Modern Art, 19th and 20th CenturiesG. Braziller, 1978 - 277 sider |
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Side 57
... taste for the contemporary and popular , and was able to maintain himself in it because of his first - hand experi- ence of provincial life and his plebeian consciousness among the better educated Parisian writers . He had discovered ...
... taste for the contemporary and popular , and was able to maintain himself in it because of his first - hand experi- ence of provincial life and his plebeian consciousness among the better educated Parisian writers . He had discovered ...
Side 66
... taste for popular prints and songs , Champfleury seems to contradict his notion that realism is the indispensable art of mo- dernity . In his book on popular images ( 1869 ) , he recommends in the concluding chapters on the art of the ...
... taste for popular prints and songs , Champfleury seems to contradict his notion that realism is the indispensable art of mo- dernity . In his book on popular images ( 1869 ) , he recommends in the concluding chapters on the art of the ...
Side 254
... taste which was insensitive to relation- ships of a finer order . The artistically immature taste for the imitative , cliché - ridden , often skillful kind of painting , called kitsch , is now directed also to the widely publicized ...
... taste which was insensitive to relation- ships of a finer order . The artistically immature taste for the imitative , cliché - ridden , often skillful kind of painting , called kitsch , is now directed also to the widely publicized ...
Indhold
CEZANNE | 1 |
COURBET AND POPULAR IMAGERY | 47 |
ON A PAINTING OF VAN GOGH | 87 |
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abstract art abstract painting academic art aesthetic Alfred Stieglitz American appears apples architecture Armory Show Arshile Gorky artists aspect bars beauty Broadway Boogie-Woogie Cézanne Cézanne's Chagall Chagall's Champfleury color common composition conception contemporary Courbet criticism Cubist culture drawing elements European exhibition experience expression feeling field figure forms freedom geometric Gogh Gorky grid Gustave Courbet human Ibid ideal ideas imagery imagination imitation Impressionism Impressionists individual Ingres interest landscape later Léger lines Matisse ment Michael Noll modern art Mondrian mood movement Museum of Modern nature Neo-Impressionist nineteenth century nude objects older painter painting and sculpture Paris Paul Cézanne Picasso picture popular primitive pure qualities random reaction realistic representation represented reproduced scene seems sense Seuphor Seurat shapes social space square still-life style subjects symbolic taste themes tion tive tradition units values vertical and horizontal vision whole woman York Zola