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Author: Vivien Greene
Publisher: Guggenheim Museum
ISBN:
Category : Architecture
Languages : en
Pages : 146
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Book Description
This beautifully designed exhibition catalogue explores the optically vibrant paintings of the late nineteenth-century Italian Divisionists, examining, for the first time, their relationship to Neo-Impressionism. Artists from both movements subscribed to a painting technique rooted in color theory; held left-wing political views; and pursued similar subject matter--from idyllic landscapes to timely social problems. Arcadia and Anarchy underscores the Italian artists' autonomy from their European counterparts and highlights their importance in pioneering Modernism. Published to accompany the premiere of the exhibition at the Deutsche Guggenheim, Berlin, which was curated by Vivien Greene and will travel to the Guggenheim Museum, New York in the summer of 2007, this focused study of 40 key Divisionist works is the first of its kind to appear in the United States. Featuring work by Giovanni Segantini, Théo Van Rysselberghe, Albert Dubois-Pillet, Georges Seurat, Vittore Grubicy de Dragon, Maximilien Luce, Paul Signac, Emilio Longoni, Camille Pissarro, Angelo Morbelli, Henri-Edmond Cross, Plino Nomellini, Charles Angrand, Giuseppe Pellizza da Volpedo, Giovanni Sottocornola, Jan Toorop and Gaetano Previati, it includes essays by Greene, as well as by noted scholars Giovanna Ginex, Dominique Lobstein and Aurora Scotti Tosini.
Author: Vivien Greene
Publisher: Guggenheim Museum
ISBN:
Category : Architecture
Languages : en
Pages : 146
Get Book
Book Description
This beautifully designed exhibition catalogue explores the optically vibrant paintings of the late nineteenth-century Italian Divisionists, examining, for the first time, their relationship to Neo-Impressionism. Artists from both movements subscribed to a painting technique rooted in color theory; held left-wing political views; and pursued similar subject matter--from idyllic landscapes to timely social problems. Arcadia and Anarchy underscores the Italian artists' autonomy from their European counterparts and highlights their importance in pioneering Modernism. Published to accompany the premiere of the exhibition at the Deutsche Guggenheim, Berlin, which was curated by Vivien Greene and will travel to the Guggenheim Museum, New York in the summer of 2007, this focused study of 40 key Divisionist works is the first of its kind to appear in the United States. Featuring work by Giovanni Segantini, Théo Van Rysselberghe, Albert Dubois-Pillet, Georges Seurat, Vittore Grubicy de Dragon, Maximilien Luce, Paul Signac, Emilio Longoni, Camille Pissarro, Angelo Morbelli, Henri-Edmond Cross, Plino Nomellini, Charles Angrand, Giuseppe Pellizza da Volpedo, Giovanni Sottocornola, Jan Toorop and Gaetano Previati, it includes essays by Greene, as well as by noted scholars Giovanna Ginex, Dominique Lobstein and Aurora Scotti Tosini.
Author: Susan Barnes Robinson
Publisher:
ISBN:
Category : Futurism (Art)
Languages : en
Pages : 256
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Book Description
Author: Matthijs Bogaards
Publisher: Routledge
ISBN: 1317981448
Category : Political Science
Languages : en
Pages : 201
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Book Description
In Sub-Saharan Africa, the spread of democracy since the 1990s has been accompanied by the proliferation of bans on ethnic political parties. A majority of constitutions in the region explicitly prohibit political parties to organize on the basis of race, ethnicity, religion, region and other socio-cultural attributes. More than a hundred political parties have been dissolved, suspended or denied registration on these grounds. This book documents the experience with ethnic party bans in Africa, traces its origins, examines its record, and answers the question whether ethnic party bans are an effective and legitimate instrument in the prevention of ethnic conflict. This book was published as a special issue of Democratization.
Author: Christine Poggi
Publisher: Yale University Press
ISBN: 9780300051094
Category : Art
Languages : en
Pages : 318
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Book Description
The invention of collage by Picasso and Braque in 1912 proved to be a dramatic turning point in the development of Cubism and Futurism and ultimately one of the most significant innovations in twentieth-century art. Collage has traditionally been viewed as a new expression of modernism, one allied with modernism's search for purity of means, anti-illusionism, unity, and autonomy of form. This book - the first comprehensive study of collage and its relation to modernism - challenges this view. Christine Poggi argues that collage did not become a new language of modernism but a new language with which to critique modernism. She focuses on the ways Cubist collage - and the Futurist multimedia work that was inspired by it - undermined prevailing notions of material and stylistic unity, subverted the role of the frame and pictorial ground, and brought the languages of high and low culture into a new relationship of exchange.
Author:
Publisher: Human Rights Watch
ISBN:
Category :
Languages : en
Pages : 115
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Book Description
Author: Mariana Aguirre
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110527839
Category : Art
Languages : en
Pages : 570
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Book Description
Futurism Studies in its canonical form has followed in the steps of Marinetti's concept of Futurisme mondial, according to which Futurism had its centre in Italy and a large number of satellites around Europe and the rest of the globe. Consequently, authors of textbook histories of Futurism focus their attention on Italy, add a chapter or two on Russia and dedicate next to no attention to developments in other parts of the world. Futurism Studies tends to sees in Marinetti's movement the font and mother of all subsequent avant-gardes and deprecates the non-European variants as mere 'derivatives'. Vol. 7 of the International Yearbook of Futurism Studies will focus on one of these regions outside Europe and demonstrate that the heuristic model of centre – periphery is faulty and misleading, as it ignores the originality and inventiveness of art and literature in Latin America. Futurist tendencies in both Spanish and Portuguese-speaking countries may have been, in part, 'influenced' by Italian Futurism, but they certainly did no 'derive' from it. The shift towards modernity took place in Latin America more or less in parallel to the economic progress made in the underdeveloped countries of Europe. Italy and Russia have often been described as having originated Futurism because of their backwardness compared to the industrial powerhouses England, Germany and France. According to this narrative, Spain and Portugal occupied a position of semi-periphery. They had channelled dominant cultural discourses from the centre nations into the colonies. However, with the rise of modernity and the emergence of independence movements, cultural discourses in the colonies undertook a major shift. The revolt of the European avant-garde against academic art found much sympathy amongst Latin American artists, as they were engaged in a similar battle against the canonical discourses of colonial rule. One can therefore detect many parallels between the European and Latin American avant-garde movements. This includes the varieties of Futurism, to which Yearbook 2017 will be dedicated. In Europe, the avant-garde had a complex relationship to tradition, especially its 'primitivist' varieties. In Latin America, the avant-garde also sought to uncover and incorporate alternative, i.e. indigenous traditions. The result was a hybrid form of art and literature that showed many parallels to the European avant-garde, but also had other sources of inspiration. Given the large variety of indigenous cultures on the American continent, it was only natural that many heterogeneous mixtures of Futurism emerged there. Yearbook 2017 explores this plurality of Futurisms and the cultural traditions that influenced them. Contributions focus on the intertextual character of Latin American Futurisms, interpret works of literature and fine arts within their local setting, consider modes of production and consumption within each culture as well as the forms of interaction with other Latin American and European centres. 14 essays locate Futurism within the complex network of cultural exchange, unravel the Futurist contribution to the complex interrelations between local and the global cultures in Latin America and reveal the dynamic dialogue as well as the multiple forms of cross-fertilization that existed amongst them.
Author: Henri Matisse
Publisher: Univ of California Press
ISBN: 9780520200326
Category : Art
Languages : en
Pages : 372
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Book Description
Ed : Brooklyn College and City University of New York, Revised edition, Includesnew texts, introduction, biography, overview.
Author:
Publisher:
ISBN:
Category : Communism
Languages : en
Pages : 840
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Book Description
Author: M. Newall
Publisher: Springer
ISBN: 0230297536
Category : Art
Languages : en
Pages : 234
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Book Description
Using an approach deeply informed by philosophy of art, art history and perceptual psychology, this book places seeing at the centre of an original theory of pictorial representation and explores the ramifications such a theory has for the visual arts.
Author: Astri Suhrke
Publisher: Routledge
ISBN: 1136671935
Category : History
Languages : en
Pages : 353
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Book Description
This volume examines the causes and purposes of 'post-conflict' violence. The end of a war is generally expected to be followed by an end to collective violence, as the term ‘post-conflict’ that came into general usage in the 1990s signifies. In reality, however, various forms of deadly violence continue, and sometimes even increase after the big guns have been silenced and a peace agreement signed. Explanations for this and other kinds of violence fall roughly into two broad categories – those that stress the legacies of the war and those that focus on the conditions of the peace. There are significant gaps in the literature, most importantly arising from the common premise that there is one, predominant type of post-war situation. This ‘post-war state’ is often endowed with certain generic features that predispose it towards violence, such as a weak state, criminal elements generated by the war-time economy, demobilized but not demilitarized or reintegrated ex-combatants, impunity and rapid liberalization. The premise of this volume differs. It argues that features which constrain or encourage violence stack up in ways to create distinct and different types of post-war environments. Critical factors that shape the post-war environment in this respect lie in the war-to-peace transition itself, above all the outcome of the war in terms of military and political power and its relationship to social hierarchies of power, normative understandings of the post-war order, and the international context. This book will of much interest to students of war and conflict studies, peacebuilding and IR/Security Studies in general.
