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Laszlo Moholy-Nagy (1895-1946) became notorious for the declarations he made about the end of painting, encouraging artists to exchange brush, pigment, and canvas for camera, film, and searchlight. Even as he made these radical claims, he painted throughout his career. The practice of painting enabled Moholy-Nagy to imagine generative relationships between art and technology, and to describe the shape that future possibilities might take. Joyce Tsai illuminates the evolution of painting's role for Moholy-Nagy through key periods in his career: at the German Bauhaus in the 1920s, in the Netherlands and the United Kingdom in the early 1930s, and as director of the New Bauhaus in Chicago in the last decade of his life. The book also includes an introduction to the history, qualities, and significance of plastic materials that Moholy-Nagy used over the course of his career, and an essay on how his project of shaping habitable space in his art and writing resonated with artists and industrial designers in the 1960s and 1970s.
This groundbreaking publication centers on a previously unknown variation of Eugene Delacroix's (1798-1863) dramatic masterpiece "The Last Words of the Emperor Marcus Aurelius," published here for the first time. This book offers a compelling reassessment of the relationship of the artist, widely considered a primary exemplar of Romanticism, to Neoclassical themes, as demonstrated by his life-long fascination with the death of Marcus Aurelius. Through this investigation, the authors reinterpret Delacroix's lineage to such fellow artists as Jean-Auguste Dominique Ingres (1780-1867) and Jacques-Louis David (1748-1825). Playing on the various interpretations of the word "finish," the book also offers a fascinating account of Delacroix's famously troubled collaboration with his studio assistants, his conflicted feelings about pedagogy, and his preoccupation with the fate of civilizations.
This beautiful book brings together ten years of research on a superb collection of 18th-century French masterworks, which was formed by the late Michael L. Rosenberg and is now on deposit at the Dallas Museum of Art. This research, originally presented in lectures at the museum by an impressive roster of scholars and curators of European art, combines close studies of individual paintings by such artists as Francois Boucher, Jean-Baptiste Greuze, and Louis Leopold Boilly with rich accounts of the historical, cultural, and political climates of their time. The works, many of which have not yet been widely published, span elegant portraits, intimate genre paintings, erotic canvases depicting mythological themes, and bloody images of the hunt. Through careful reconstructions of the lives of these artworks-from their first audiences to their contexts of display-the essays in this book unfold the history of a century of French art.
"Picasso and Braque" offers an intimate look at one of the most pivotal exchanges in the history of Western art: the culminating two years (1910-12) of Analytic Cubism. While the Cubist experiment has long been a requisite chapter in the history of modernism, this is the first publication to delve deeply into these two intense years of productivity, revealing the intriguing pictorial game being played out between these two great masters.
Essays by prominent curators and historians offer sustained readings of paintings, drawings, and prints in terms of their engagement with issues of genre, format, medium, and artistic process. In addition, the new technology of spectral imaging provides reproductions of astounding color and textural fidelity, making this an essential publication for those seeking to understand better the complexity of Picasso's and Braque's mark-making, which typically evades conventional photography.
his book introduces the general public and scholarly audience alike to one of the great collections of Italian Renaissance and Baroque paintings, with examples of major works dating from the late Medieval period to the late Baroque. The volume presents 50 key paintings in colour, many with colour details. Each work is accompanied by an extended commentary, written in a clear and accessible style. Specific terminology and Italian words, when used, are always explained; each text clearly states why a particular painting is important and interesting; and each commentary is informed by the most recent scholarship. The paintings have been selected to show the huge range of artistic and stylist development in painting during this period, and signature works featured in this volume include: Pietro Lorenzetti, Virgin and Child, 1342-8; Bicci di Lorenzo, Annunciation, ca. 1430; Giovanni Bellini and assistants, Madonna and Child with Saints and Donors, ca. 1510; Raphael, Madonna of the Candelabra, 1513-14; Veronese, Countess Livia da Porto Thiene and Daughter, ca. 1551; Luca Giordano, Ecce Homo, 17th-century; Guido Reni, The Penitent Magdalene, ca. 1638; and Francesco Guardi, Venetian Courtyard, ca. 1770-90. Particular emphasis is placed on the subject matter and style of the paintings; each is discussed both in itself and within the context of the wider period and school. The authors focus on key questions, such as "What issues and trends does a painting exemplify?" Footnotes are included only where they are genuinely useful for the reader. A select bibliography provides information on further reading and sources for each work and artist featured in the book, including both standard reference sources, and a selection of the most important recent books and articles.
Today serial imagery dominates all forms of visual media, from advertising to conceptual sculpture. In this innovative project, the authors show that the phenomenon of repetition appears as a radical element in early modern painting, long before its embrace by 20th-century high modernism. In works by Ingres, Delaroche, Gerome, Corot, Millet, Monet, Cezanne, Degas, and Matisse, the reader can compare closely related versions of some of the most familiar imagery of the 19th and early 20th centuries. By making multiples of closely related subject matter in their paintings, the authors argue, these painters challenged an aesthetic based on the notion of an inimitable, unique masterpiece. Through beautiful illustrations and essays by leading scholars, this book ultimately shows how the 19th-century invention of photography and film--with their intrinsic attributes of repetition--did not diminish the traditional medium of painting but rather propelled it in new directions.
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