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Category :
Languages : en
Pages : 144
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Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 144
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Author:
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ISBN:
Category : Art
Languages : en
Pages : 310
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Book Description
Includes section "The great calendar of American exhibitions."
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Category : Art
Languages : en
Pages : 610
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Category : Art
Languages : en
Pages : 654
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Author: Stephanie L. Herdrich
Publisher: Metropolitan Museum of Art
ISBN: 0870999524
Category : Art
Languages : en
Pages : 444
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"The Museum's collection illuminates all aspects of Sargent's career. The drawings and watercolors in particular reflect his activity outside the portrait studio: his sojourns in Spain, Morocco and elsewhere in North Africa, and in the Middle East; his enduring fascination with Venice; his holidays in the Italian lake district and the Alps; his tours of North America, including Florida and the Rocky Mountains; his visit as an official war artist to the western front in 1918; and his work as a muralist at the Boston Public Library, the Museum of Fine Arts, Boston, and Harvard University's Widener Library."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
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Category : Art
Languages : en
Pages : 708
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Author:
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Category : Art
Languages : en
Pages : 208
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Author: Buffalo Fine Arts Academy
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 24
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Author:
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ISBN:
Category : Art
Languages : en
Pages : 520
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Author: Esther Trépanier
Publisher: McGill-Queen's Press - MQUP
ISBN: 0228015960
Category : Art
Languages : en
Pages : 273
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Book Description
Four artists who are today relatively or almost entirely unknown – one woman and three men – nevertheless played a part in the aesthetic upheavals that led to abstraction in 1940s Montreal. Very active in the art milieu throughout the decade, Marian Dale Scott, Fritz Brandtner, Henry Eveleigh, and Gordon Webber captured the attention of critics of the time, who employed the term “abstract art” to describe both non-objective works and bold formal explorations that retained some reference to visible reality. An examination of these artists’ practices reveals a remarkable openness to international contemporary art trends – French, German, British, and American. Their work and its critical reception conjure a complex picture of the debates on abstraction that took place in Montreal during the 1940s, so often reduced to the controversies surrounding the emergence of the Automatiste movement. The artistic innovations of Paul-Émile Borduas and his group and the radical tone of their 1948 manifesto Refus global cemented their status as Quebec’s abstract avant-garde but also had the effect of eclipsing other visions of abstraction being explored during the same period. This book reinstates the oeuvres of these forgotten protagonists in the narrative of abstract art, illustrating how their practices encompassed a variety of themes: emotion, science, human experience in the broadest sense – but also, as the Second World War unfolded, the violence that marked their era.
