The original edition of this ambitious reference was published in hardcover in 1998, in two oversize volumes (10x13"). This edition combines the two volumes into one; it's paperbound ("flexi-cover"--the paper has a plastic coating), smaller (8x10", and affordable for art book buyers with shallower pockets--none of whom should pass it by. The scope is encyclopedic: half the work (originally the first volume) is devoted to painting; the other half to sculpture, new media, and photography. Chapters are arranged thematically, and each page displays several examples (in color) of work under discussion. The final section, a lexicon of artists, includes a small bandw photo of each artist, as well as biographical information and details of work, writings, and exhibitions. Ruhrberg and the three other authors are veteran art historians, curators, and writers, as is editor Walther. c. Book News Inc.
A retrospective of the art of the twentieth century features concise introductions to every major art movement, with over four hundred illustrations of works from some of the most famous artists of the century.
To many, chance and art are antagonistic terms. But a number of 20th century artists have turned this notion on its head by attempting to create artworks based on randomness. Among those, three in particular articulated a well-argued and thorough theory of the radical use of chance in art: André Breton (writer), John Cage (composer) and François Morellet (visual artist). The implications of such a move away from established aesthetics are far-reaching, as much in conceptual as in practical terms, as this book hopes to make clear. Of paramount importance in this coincidentia oppositorum is the suggested possibility of a correlation between the artistic use of chance and a system of thought itself organised around chance. Indeed placing randomness at the centre of one’s art may have deeper philosophical consequences than just on the aesthetical level.
This reader, a companion to The Open University’s four-volume Art of the Twentieth Century series, offers a variety of writings by art historians and art theorists. The writings were originally published as freestanding essays or chapters in books, and they reflect the diversity of art historical interpretations and theoretical approaches to twentieth-century art. Accessible to the general reader, this book may be read independently or to supplement the materials explored in the four course texts. The volume includes a general introduction as well as a brief introduction to each piece, outlining its origin and relevance.
This ambitious volume provides a general introduction to the major approaches in this century to art theory and criticism, from the Expression Theory to Poststructuralism. For readers with little or no background, clearly written introductions are provided. The writings collected here are by leaders in each area such as Freud, Barthes, Heidegger and Derrida. The collection is valuable for students of art history, literature and philosophy.
Here are 100 works of art selected from the Italian National Gallery of Modern Art and from private collections that present a wide perspective on the development of modern Italian art. The sharp break from traditional art styles at the beginning of the twentieth century century manifested itself in all media, especially in paintings by Modigliani, Boccioni, and Balla. By the 1920s there was a continued flow of modernism in Italian arts including the works of de Chirico and Sironi that was diverted only by the Fascist regime. When Peggy Guggenheim arrived in Venice, Italian modernism was rekindled and its frontiers spread so rapidly that by the eighties 'modern art' required a larger meaning to include startling new work by Francesco Clemente and Sandro Chia. Even the flexible idea of art, established by the Venice Biennale at the end of the century, has been breached by Italian artists now working in the new mediums offered by technology.
Compelling, well-illustrated study focuses on the works of Kandinsky, Mondrian, Klee, Picasso, Duchamp, Matisse, and others. Citations from letters, diaries, and interviews provide insights into the artists' views. 121 black-and-white illustrations.