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Art --- Sculpture --- Sculpture. --- Plastische kunst. --- Stonework, Decorative --- Bas-relief --- Statues --- Sculpture, Primitive --- Arts and Humanities --- Architecture, Fine and Decorative Arts

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Sculpture --- History --- reliefs [sculptures] --- equestrian statues --- Antique, the --- ethnic art --- primitivism [artistic concept] --- religious art --- sculpting --- prehistoric --- Egyptian [ancient] --- Medieval [European] --- beeldhouwkunst --- moderne kunst --- anno 1900-1999

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De klassieke oudheid was kleurrijker dan we denken. De oude Grieken en Romeinen versierden hun gebouwen en standbeelden met veel kleuren en ornamenten. Het wijdverspreide idee dat antieke beelden allemaal wit of onbeschilderd waren, komt dan ook helemaal niet overeen met de realiteit. Maar waarom denken we eigenlijk dat marmeren beelden in de oudheid wit waren? Welke tradities en gewoontes hadden de Grieken en Romeinen in hun kleurgebruik? Hoe werden die beelden precies gemaakt? En hoe kunnen we ze vandaag reconstrueren? De oudheid in kleur brengt de beschildering van antieke beelden tot leven: aan de hand van onderzoek met ultramoderne technieken en met aandacht voor de antieke schildertechnieken en verfstoffen, komen de originele beelden oog in oog te staan met hun reconstructies. Zo kunnen we vandaag, scherper en in helderdere kleuren dan ooit, achterhalen hoe antieke standbeelden er echt uitzagen.

Romeinse beeldhouwkunst --- Kleuren in de kunst --- Beeldhouwkunst --- Griekenland --- oudheid --- Sculpture --- Ancient history --- antieke beeldhouwkunst --- beeldhouwtechnieken --- beeldhouwkunst --- Romeinse oudheid --- Griekse oudheid --- sculpture [visual works] --- art history --- colors [hues or tints] --- Beeldhouwkunst ; Griekenland ; oudheid --- Archaeology and history --- Statues

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The work of German sculptor Isa Genzken is brilliantly receptive to the ever-shifting conditions of modern life. In this first book devoted to the artist, Lisa Lee reflects on Genzken's tendency to think across media, attending to sculptures, photographs, drawings, and films from the entire span of her four-decade career, from student projects in the mid-1970s to recent works seen in Genzken's studio. Through penetrating analyses of individual works as well as archival and interview material from the artist herself, Lee establishes four major themes in Genzken's oeuvre: embodied perception, architecture and built space, the commodity, and the body. Contextualizing the sculptor's engagement with fellow artists, such as Joseph Beuys and Bruce Nauman, Lee situates Genzken within a critical and historical framework that begins in politically fraught 1960s West Germany and extends to the globalized present. Here we see how Genzken tests the relevance of the utopian aspirations and formal innovations of the early twentieth century by submitting them to homage and travesty. Sure to set the standard for future studies of Genzken's work, Isa Genzken is essential for anyone interested in contemporary art.

Sculpture --- kunst --- film --- fotografie --- tekenkunst --- 7.071 GENZKEN --- 73.71 GENZKEN --- installaties --- beeldhouwkunst --- Genzken Isa --- Duitsland --- eenentwintigste eeuw --- twintigste eeuw --- Stonework, Decorative --- Genzken, Isa, --- Criticism and interpretation. --- sculptors --- mixed media works --- installations [visual works] --- Art --- Genzken, Isa --- Bas-relief --- Statues --- Sculpture. --- 1900-2099. --- Germany. --- Sculpture, Primitive

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Sculpture --- Painting --- sculpture [visual works] --- reliefs [sculptures] --- statues --- folk tales --- easel paintings [paintings by form] --- religious art --- human figures [visual works] --- architectural sculpture --- Reinaert de vos --- Don Quichote [Fictitious character] --- Poels, Albert --- Tyll Eulenspiegel [Mythological character] --- Dooren, van, Edmond --- paintings [visual works]