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Author: Arthur Jerome Eddy
Publisher:
ISBN:
Category : Cubism
Languages : en
Pages : 370
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Book Description
Author: Arthur Jerome Eddy
Publisher:
ISBN:
Category : Cubism
Languages : en
Pages : 370
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Book Description
Author: Arthur Jerome Eddy
Publisher: Theclassics.Us
ISBN: 9781230285368
Category :
Languages : en
Pages : 78
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Book Description
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1914 edition. Excerpt: ... extremist in politics, the man who has no patience with palliative measures, who demands the whole loaf and nothing but the loaf, who kicks savagely away the fragments of bread tendered him by the moderate and respectable. A dangerous man he may be, but he is no trifler; and, if he succeeds in his purpose, as extremists sometimes do, the whipped world at his feet hails him as reformer and benefactor of humanity.* The Columbian Exposition gave American art a tremendous impetus forward, but of late it has been getting a little smug; the International Exhibition came and gave our complacency a severe jolt. The net result is that American art has received another impulse forward; it will do bigger and finer and saner things. It will not copy the eccentricities, the exaggerations, the morbid enthusiasms of the recent exhibition, because America as yet is not given to eccentricities and morbidness -- though it may be to a youthful habit of exaggeration. America is essentially sane and healthful -- say quite practical -- in its outlook, hence it will absorb all that is good in the extreme modern movement and reject what is bad. Neither our students nor our painters will be carried off their feet but they will be helped onward. They will be helped in their technic, and they will see things from new angles, they will be more independent, in short they will be better and bigger painters. They will not be Cubists, Orphists, or Futurists, but they will absorb all there is of good in Cubism, Orphism, Futurism -- and other "isms;" and bear in mind it is the ist who is always blazing a trail somewhere; he may lose himself in the dense undergrowth of his theories but he at least marks a path others have not trodden. . A, ..".
Author: Arthur Jerome Eddy
Publisher:
ISBN:
Category : Cubism
Languages : en
Pages : 245
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Book Description
Author: Arthur Jerome Eddy
Publisher:
ISBN:
Category : Cubism
Languages : en
Pages : 245
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Book Description
Author: Arthur Eddy
Publisher:
ISBN:
Category :
Languages : en
Pages : 308
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Book Description
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Author: Arthur Jerome Eddy
Publisher: Forgotten Books
ISBN: 9780332394282
Category : Art
Languages : en
Pages : 328
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Book Description
Excerpt from Cubists and Post-Impressionism About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Arthur Jerome Eddy
Publisher:
ISBN: 9781293960622
Category :
Languages : en
Pages : 382
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Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Arthur Jerome Eddy
Publisher:
ISBN:
Category :
Languages : en
Pages : 276
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POST-IMPRESSIONISM POST-Impressionism means exactly what the prefix means-the art-development following Impressionism. It does not mean a further, or a higher, or a more subtle form of Impressionism, but it means something radically different, it means a reaction from Impressionism.The evolution of the new movement has been logical and inevitable. After the Barbizon school with its romantic representation of nature, there came inevitably the realistic painters, headed by Courbet, later by Manet-men who painted things not romantically but realistically, pitilessly, brutally. There was the same rage against these men as against the Cubists today. Both Whistler and Manet were in the Salon des Refuses of 1864. Along with the men who painted things as they saw them, came naturally men like Monet, Sisley, Pissarro, Seurat, Signac, who tried endless experiments in the effort to paint light as they saw it. So that the final twenty-five years of the last century were given up in France to attempts to paint things and light as they really are. After the painting of things and light one would say the art of painting had touched its limits, that there was nothing more to do. But, no, there is the painting of neither things nor light-the painting of emotions-the painting of pure line and color compositions for the sake of the pleasure such harmonies afford-the expression of one's inner self. It was while Manet was painting things as they are, and Monet was painting light as it is, that Whistler was painting both things and light but with an entirely different object in view, namely, the production of color harmonies superior to either thing-effects or light-effects. To the following résumé it is obvious another paragraph must be added to bring the record down to date. Painting in France in the nineteenth century followed a course parallel with that of the intellectual life of the country, it adapted itself to the various changes in modes of thought, it took upon itself a succession of forms corresponding to those which were evolved in literature. At the beginning of the century, under the Empire, painting was classical. It was primarily engaged in rendering scenes borrowed from the antique world of Greece and Rome, subjects derived from fable and mythology. Historical painting formed the essence of high art. It was based upon the nude, treated according to the classical model. Two masters-David and Ingress-were its loftiest expression. After them classical art was continued in an enfeebled condition by painters of only secondary importance. The new spirit of romanticism, however, which had arisen in literature, also made its appearance in painting. Delacroix was the master in whom it found its most complete expression. The tones of classical art, sober, restrained, and often cold, gave place in his work to warm and brilliant coloration. For the nicely balanced scenes of classical antiquity, he substituted compositions tumultuous with movement. Romanticism developed freedom of action and expressiveness of pose to their utmost limits. Painting was then conquered by realism, which had also invaded literature. Courbet was its great initiator. He painted the life he saw around him in a direct, robust manner. He also painted landscape with a truthfulness that was informed by a powerful emotion. At the same time, Rousseau and Corot had also brought landscape painting into close touch with nature. They had rediscovered its soul and its charm. Finally, crowning, as it were, the work of their predecessors, came Manet and the Impressionists.
Author: Pablo Picasso
Publisher:
ISBN:
Category : Art, Modern
Languages : en
Pages : 104
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Book Description
Color plates include works by: Picasso, Braque, Derain, Gris, Leger, Lhote, Marcoussis, Gleizes, Metzinger, Le Fauconnier, Herbin, Villon, Kupka, Delaunay, Duchamp, Picabia.
Author: Sue Ann Prince
Publisher: University of Chicago Press
ISBN: 9780226682846
Category : Art
Languages : en
Pages : 344
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Book Description
"The Old Guard and the Avant-Garde: Modernism in Chicago, 1910-1940 brings together the history and the critical reaction to the new developments in art and design, places them in the context of conservative yet innovative Chicago at the turn of the century, and explores the tensions between tradition and innovation. The individual essays present the best in specialized current research, yet one can clearly understand the impact of modernism on the broader intellectual and cultural life of the city. I eagerly await as cohesive and thorough an analysis of the subject for New York."—David Sokol, University of Chicago "This is fresh and fascinating research about the ups and downs of modernism in Chicago, a city where art students reportedly once hung Matisse in effigy. Regional studies like this one broaden our understanding of how the art world has worked outside of New York and gives depth to a story we know too narrowly. Applause all the way around."—Wanda M. Corn, Stanford University
