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Painting, Modern --- Psychological aspects. --- Painting [Modern ] --- 20th century --- Psychological aspects
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realisme --- 20ste eeuw --- Painting, Modern --- Realism in art. --- 20ste eeuw.
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Painting, Modern --- Peinture --- Exhibitions --- Expositions --- Césaire, Aimé
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Fallait-il être fous pour croire en la possibilité qu'adviennent d'autres rapports entre les hommes, dont l'art fût en quelque manière le messager ? Fallait-il être fous pour, ne refusant d'écouter ni les sirènes de la tradition ni celles de la modernité, n'obéir à aucune de leurs mises en demeure, mais tenter d'ouvrir une voie qui relie le futur au passé ? Fallait-il être fous pour ne pas se résoudre à ce qu'en cette fin de siècle, plus aucun cadre de référence intellectuel ne semble subsister, qui accueille les figures et les oeuvres (entre autres) de Serge Eisenstein, de Bertold Brecht, de David Alfaro Siqueiros ? Fallait-il être fous pour parier comme eux sur une nouvelle universalité ? Et, pourquoi pas, sur des nouvelles formes de liens sacrés entre les hommes ? Oui, il fallait être fous. Devons-nous pour autant nous repentir devant des juges sans visage au tribunal du marché de l'art mondialisé ? Faire acte de contrition publique pour crime de nos folies accumulées ? Et s'il advenait que l'Histoire ne fût pas à son terme - nos juges demain jugés plus fous que nous ? Devant ce tribunal invisible, je persiste et signe.
French literature (outside France) --- Art criticism --- Art--Critique --- Critique d'art --- Kunst--Kritiek --- Kunstkritiek --- Peinture --- Schilderkunst --- Painting, Modern. --- Painting --- Artists' writings --- Peinture moderne --- Ecrits d'artistes --- Philosophy. --- Philosophie --- Painting, Modern --- Philosophy --- Art --- Painting - Philosophy --- Écrits d'artistes. --- Esthétique.
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Art and music --- Art et musique --- Kunst en muziek --- Music and art --- Musique et art --- Muziek en kunst --- Music --- 19th century --- History and criticism --- Painting [Modern ]
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Painting --- Iconography --- anno 1800-1899 --- Germany --- Geschiedenis in de kunst --- Histoire dans l'art --- Historical painting --- Historieschilderkunst --- History in art --- History painting --- Nazareners (Duitse schilders) --- Nazarenes (German painters) --- Nazaréens (Peintres allemands) --- Peinture d'histoire --- Peinture allemande --- Christian art and symbolism --- Painting, German --- History --- Medievalism --- Painting, Modern --- Painters --- Civilization, Medieval --- Middle Ages --- Narrative painting --- 19th century --- Painting [Modern ]
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A groundbreaking account of the meaning of abstract paintingFrom Mondrian's bold geometric forms to Kandinsky's use of symbols to Pollock's "dripped paintings," the richly diverse movement of abstract painting challenges anyone trying to make sense of either individual works or the phenomenon as a whole. Applying his insights as an art historian and a painter, John Golding offers a unique approach to understanding the evolution of abstractionism by looking at the personal artistic development of seven of its greatest practitioners. He re-creates the journey undertaken by each painter in his move from representational art to the abstract-a journey that in most cases began with cubism but led variously to symbolism, futurism, surrealism, theosophy, anthropology, Jungian analysis, and beyond. For each artist, spiritual quest and artistic experimentation became inseparable. And despite their different techniques and philosophies, these artists shared one goal: to break a path to a new, ultimate pictorial truth.The book first explores the works and concerns of three pioneering European abstract painters-Mondrian, Malevich, Kandinsky-and then those of their American successors-Pollock, Newman, Rothko, and Still. Golding shows how each painter sought to see the world and communicate his vision in the purest or most expressive form possible. For example, Mondrian found his way into abstraction through a spiritual response to the landscape of his native Holland, Malevich through his apprehension of the human body, Kandinsky through a blend of religious mysticism and symbolism. Line and color became the focus for many of their creative endeavors. In the 1940s and 50s, the Americans raised the level of pictorial innovation, beginning most notably with Pollock and his Jung-inspired concept of action.Golding makes a powerful case that at its best and most profound, abstract painting is heavily imbued with meaning and content. Through a blend of biography, art analysis, and cultural history, Paths to the Absolute offers remarkable insights into how a sense of purpose is achieved in painting, and how abstractionism engaged with the intellectual currents of its time.Please note: All images in this ebook are presented in black and white and have been reduced in size.
Peinture americaine --- Peinture abstraite --- Peinture americaine. --- Peinture --- Peinture europeenne. --- Painting, Modern. --- Painting, American --- Painting, Abstract --- Painting, American. --- Painting, Modern --- Painting, European. --- Still, Clyfford, --- Rothko, Mark, --- Pollock, Jackson, --- Newman, Barnett, --- Mondrian, Piet, --- Malevich, Kazimir Severinovich, --- Kandinsky, Wassily, --- United States. --- Europe. --- Painting, European
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iconology --- symbolism [artistic concept] --- iconography --- Iconography --- History of civilization --- allegory [artistic device] --- Painting --- anno 1600-1699 --- Netherlands --- Painting [Dutch ] --- Themes, motives --- Painting, Modern - 17th-18th centuries - Netherlands - Themes, motives. --- Hollandse school
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