Picasso, Braque and Early Film in Cubism PDF Download
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Author: Tom Gunning
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 196
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Book Description
Author: Tom Gunning
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 196
Get Book Here
Book Description
Author: Eik Kahng
Publisher: Kimbell Art Museum
ISBN: 9780300169713
Category : Art
Languages : en
Pages : 135
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Book Description
Published on the occasion of an exhibition held at the Kimbell Art Museum, Fort Worth, Tex., May 29-Aug. 21, 2011 and the Santa Barbara Museum of Art, Santa Barbara, Calif., Sept. 17, 2011-Jan. 8, 2012.
Author: Emily Braun
Publisher: Metropolitan Museum of Art
ISBN: 0300208073
Category : Art
Languages : en
Pages : 394
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Book Description
This beautifully illustrated volume tells the story of Cubism through twenty-two essays that explore the most significant private holding of Cubist art in the world today, the Leonard A. Lauder Collection, now a promised gift to The Metropolitan Museum of Art. The eighty works featured in this volume—by Georges Braque, Juan Gris, Fernand Léger, and Pablo Picasso‐are among the most important and visually arresting in the movement’s history. These masterpieces, critical to the development of Cubism, include such groundbreaking paintings as Braque’s Trees at L’Estaque, considered one of the very first Cubist pictures; Picasso’s Still Life with Fan: “L’Indépendant,” one of the first to introduce typography; Gris’s noirish, uncanny The Man at the Café, one of his most celebrated collages; and Léger’s uniquely ambitious Composition (The Typographer). Written by renowned experts on this subject, the essays trace the evolution of Cubism from its origins in the still lifes, portraits, and collages of Braque and Picasso through the precisely delineated compositions by Gris that prefigure the Synthetic Cubism of the war years to Léger’s distinctive intersections of spherical, cylindrical, and cubic forms that evoke the syncopated rhythms of modern life. Also included are a fascinating interview in which Leonard Lauder discusses his approach to collecting, an investigative essay on the information gleaned from the backs of the works themselves, and an authoritative catalogue that further establishes the lives of these magnificent objects. A publication to place alongside the great histories of Modernism, this comprehensive book will stand as the resource for understanding Cubism for many years to come. -
Author: Jennifer Wild
Publisher: Univ of California Press
ISBN: 0520340809
Category : Performing Arts
Languages : en
Pages : 360
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Book Description
The first decades of the twentieth century were pivotal for the historical and formal relationships between early cinema and Cubism, mechanomorphism, abstraction, and Dada. To examine these relationships, Jennifer Wild’s interdisciplinary study grapples with the cinema’s expanded identity as a modernist form defined by the concept of horizontality. Found in early methods of projection, film exhibition, and in the film industry’s penetration into cultural life by way of film stardom, advertising, and distribution, cinematic horizontality provides a new axis of inquiry for studying early twentieth-century modernism. Shifting attention from the film to the horizon of possibility around, behind, and beyond the screen, Wild shows how canonical works of modern art may be understood as responding to the changing characteristics of daily life after the cinema. Drawing from a vast popular cultural, cinematic, and art-historical archive, Wild challenges how we have told the story of modern artists’ earliest encounter with cinema and urges us to reconsider how early projection, film stardom, and film distribution transformed their understanding of modern life, representation, and the act of beholding. By highlighting the cultural, ideological, and artistic forms of interpellation and resistance that shape the phenomenology of a wartime era, The Parisian Avant-Garde in the Age of Cinema, 1900–1923 provides an interdisciplinary history of radical form. This book also offers a new historiography that redefines how we understand early cinema and avant-garde art before artists turned to making films themselves.
Author: Metropolitan Museum of Art (New York, N.Y.)
Publisher: Metropolitan Museum of Art
ISBN: 1588393704
Category : Art
Languages : en
Pages : 378
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Book Description
This publication presents a comprehensive catalogue of the works by Pablo Picasso in the Metropolitan Museum. Comprising 34 paintings, 59 drawings, 12 sculptures and ceramics, and more than 400 prints, the collection reflects the full breadth of the artist's multi-sided genius as it asserted itself over the course of his long career.
Author: Juliet Bellow
Publisher: Routledge
ISBN: 135155803X
Category : Art
Languages : en
Pages : 308
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Book Description
Modernism on Stage restores Serge Diaghilev?s Ballets Russes to its central role in the Parisian art world of the 1910s and 1920s. During those years, the Ballets Russes? stage served as a dynamic forum for the interaction of artistic genres - dance, music and painting - in a mixed-media form inspired by Richard Wagner?s Gesamtkunstwerk (total work of art). This interdisciplinary study combines a broad history of Diaghilev?s troupe with close readings of four ballets designed by canonical modernist artists: Pablo Picasso, Sonia Delaunay, Henri Matisse, and Giorgio de Chirico. Experimental both in concept and form, these productions redefine our understanding of the interconnected worlds of the visual and performing arts, elite culture and mass entertainment in Paris between the two world wars. This volume traces the ways in which artists working with the Ballets Russes adapted painterly styles to the temporal, three-dimensional and corporeal medium of ballet. Analyzing interactions among sets, costumes, choreography, and musical accompaniment, the book establishes what the Ballets Russes' productions looked like and how audiences reacted to them. Juliet Bellow brings dance to bear upon modernist art history as more than a source of imagery or ornament: she spotlights a complex dialogue among art forms that did not preclude but rather enhanced artists? interrogation of the limits of medium.
Author: André Gaudreault
Publisher: John Wiley & Sons
ISBN: 1444332317
Category : Performing Arts
Languages : en
Pages : 660
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Book Description
An authoritative and much-needed overview of the main issues in the field of early cinema from over 30 leading international scholars in the field First collection of its kind to offer in one reference: original theory, new research, and reviews of existing studies in the field Features over 30 original essays from some of the leading scholars in early cinema and Film Studies, including Tom Gunning, Jane Gaines, Richard Abel, Thomas Elsaesser, and André Gaudreault Caters to renewed interest in film studies’ historical methods, with strict analysis of multiple and competing sources, providing a critical re-contextualization of films, printed material and technologies Covers a range of topics in early cinema, such as exhibition, promotion, industry, pre-cinema, and film criticism Broaches the latest research on the subject of archival practices, important particularly in the current digital context
Author: Anna Jozefacka
Publisher: Metropolitan Museum of Art
ISBN: 1588397688
Category : Art
Languages : en
Pages : 115
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Book Description
In 1910, Pablo Picasso began a series of 11 decorative paintings intended for the Brooklyn residence of American artist, collector, and critic Hamilton Easter Field. This publication is the first in-depth examination of this commission which, despite never being completed, offers new insights into a little-known chapter in Picasso’s art that coincided with a critical moment in the development of Cubism. Based on new research, including letters and archival material from both Picasso and Field, this book shows how the unrealized commission challenged Picasso to move beyond easel painting and adapt Cubist forms to an immersive aesthetic experience. Authors investigate the progression of Cubist ideas and show how Picasso used Easter Field’s proposal as a place of experimentation by both subverting and paying homage to decorative painting traditions. Published to coincide with Celebration Picasso, marking the fiftieth anniversary of the artist’s death, this compact volume provides a compelling look at what might have been, as well as a fascinating portrait of art and patronage in the early twentieth century.
Author: Vicky Smith
Publisher: Springer
ISBN: 3319738739
Category : Performing Arts
Languages : en
Pages : 296
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Book Description
This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new and diverse methodologies for thinking through these myriad animation practices. This volume addresses fundamental questions of form, such as drawing and the line, but also broadens out to encompass topics such as the inter-medial, post-humanism, the real, fakeness and fabrication, causation, new forms of synthetic space, ecology, critical re-workings of cartoons, and process as narrative. This book will appeal to cross and inter-disciplinary researchers, animation practitioners, scholars, teachers and students from Fine Art, Film and Media Studies, Philosophy and Aesthetics.
Author: Dr Enrique Mallen
Publisher: Liverpool University Press
ISBN: 1782847952
Category : Art
Languages : en
Pages : 419
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Book Description
Exactly when Matisse and Picasso first met is open to debate. Their earliest encounter may have taken place during the Matisse retrospective at Galerie Druet right before the 1906 Salon des Indépendants. The latter marked the first time all the Fauves exhibited together. The centerpiece was Matisse’s monumental Le bonheur de vivre. Leo Stein bought the painting while the Salon was still running, regarding it as “the most important work of our time.” This opinion undoubtedly annoyed Picasso. Jealousy of the other man’s success goaded him to greater innovations. In his view, the new art would have to match the sense of endless discovery that science and technology were offering. The 1900 “Exposition Universelle” had already shown the latest marvels in engineering. If painting wanted to keep the public’s attention, instead of merely reproducing what the eye saw, it had to generate its own reality on the surface of the canvas, a reality more vivid than, and bearing only the most cursory resemblance to, anything found in nature. Matisse was also a catalyst in that he was the one who introduced Picasso to African sculptures. Max Jacob recalls: “Matisse took a black, wooden statuette from a table and showed it to Picasso. It was the first piece of Negro wooden art. Picasso held onto it all evening. The next morning, when I arrived at the studio, the floor was strewn with sheets of paper, and on each sheet was drawn the head of a woman; all of them were more or less the same: one eye, an oversized nose attached to the mouth, and a lock of hair on the shoulders. Cubism was thus born” (cited in Janine Warnod, Washboat Days [New York: Grossman Publishers Warnod, 1972, p. 128]).
