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Sculpture --- Verenigd Koninkrijk --- Groot-Brittannië --- Liverpool --- National Museums & Galleries on Merseyside (Liverpool). --- Tate Gallery Liverpool. --- sculptuur.
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Art --- Sculpture --- art [fine art] --- sculpting --- Parreno, Philippe --- Bochner, Mel --- Tiravanija, Rirkrit --- Venlet, Richard --- Rosso, Medardo --- Kelley, Mike --- Durham, Jimmie --- Dryer, Moira --- Geys, Jef --- Palermo, Blinky --- Eliasson, Olafur --- Buren, Daniel --- McCollum, Allan --- Smithson, Robert --- Cadere, André --- Clark, Lygia --- Mucha, Reinhard --- Mullican, Matt --- Chung, Jay --- Lohaus, Bernd --- Gillick, Liam --- Maiolino, Anna Maria --- Thek, Paul --- Janssens, Ann Veronica --- Fischer, Urs --- Verhoeven, Gert --- Horowitz, Jonathan --- Schütte, Thomas --- Pardo, Jorge --- West, Franz --- White, Pae --- art [discipline]
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Sculpture --- art theory --- sculpting --- Caro, Anthony --- Fulton, Hamish --- Kapoor, Anish --- Pasmore, Victor --- King, Philip --- Parker, Cornelia --- Chadwick, Lynn --- Gilbert and George --- Flanagan, Barry --- Epstein, Jacob --- Smith, Bob and Roberta --- Armitage, Kenneth --- Butler, Reginald --- Tucker, William --- Deacon, Richard --- Cragg, Tony --- Dalwood, Hubert --- Creed, Martin --- Gormley, Antony --- Turnbull, William --- Hepworth, Barbara --- Barlow, Phyllida --- Quinn, Marc --- Moore, Henry --- Woodrow, Bill --- Goldsworthy, Andy --- Bayes, Gilbert --- anno 1900-1999 --- Great Britain --- Sculpture, British --- Sculptors --- Escultura --- sculpture [visual works] --- Finlay, Ian Hamilton --- Callan, Jonathan --- Blake, Peter Thomas --- Gabo, Naum --- Cox, Stephen --- Bainbridge, Eric --- Culbert, Bill --- Long, Richard --- Rothschild, Eva --- Meštrovič, Ivan --- Charoux, Siegfried --- Chadwick, Helen --- Langlands & Bell --- Fullard, George --- Clarke, Geoffrey --- Underwood, Leon --- Calder, Alexander --- Colton, Adam --- Meadows, Bernard --- Davey, Grenville --- Cribb, Joseph --- Brown, Ralph --- Borland, Christine --- Pope, Nicholas --- Lim, Kim --- Nash, David --- Adams, Robert --- Belsky, Franta --- Darlington, Frances --- Allington, Edward --- Bradshaw, Laurens Henderson --- Atkinson, Terry --- Cawthra, Hermon --- Copnall Bainbridge, Edward --- Craig-Martin, Michael --- Randall-Page, Peter --- Boden, Neville --- Agar, Eileen --- Henry Moore Institute [Leeds] --- Leeds City Art Gallery --- Copnall, Edward Bainbridge --- Bradshaw, Laurence --- Leeds Museums and Galleries --- King, Phillip --- Leeds Art Gallery
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Iconography --- Art --- Tate Liverpool --- anno 1900-1999 --- Tate Gallery Liverpool. --- Wereldoorlog II. --- Groot-Brittannië.
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This book examines the relationship between modern sculpture and architecture, an interplay that has laid the ground for the semi-sculptural or semi-architectural works by architects such as Frank Gehry and artists such as Dan Graham. The first half of the book looks at how the addition of sculpture enhanced several architectural projects, including Mies van der Rohe's ... more »Barcelona Pavilion (1929) and Eliel Saarinen's Cranbrook Campus (1934). The second half of the book uses several additional case studies, including Philip Johnson's sculpture court for New York's Museum of Modern Art (1953), to explore what architectural spaces can add to the sculpture they are designed to contain.
725.91 --- 069 --- 73 --- architectuur --- kunst --- beeldhouwkunst --- kunst en architectuur --- paviljoenen --- tentoonstellingen --- tentoonstellingsgebouwen --- musea --- Kolbe Georg --- Fontana Lucio --- Mies van der Rohe Ludwig --- Saarinen Eliel --- Johnson Philip --- Persico Edoardo --- Scarpa Carlo --- Rietveld Gerrit --- van Eyck Aldo --- Graham Dan --- Paviljoenen (architectuur) --- Tentoonstellingsgebouwen --- Tentoonstellingen (architectuur) --- Tentoonstellingsarchitectuur --- Beeldhouwkunst --- Outdoor sculpture --- Outdoor art --- Sculpture --- Sculpture and architecture
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sculpting --- beeldhouwkunst --- Hepworth, Barbara --- Sculpture --- anno 1900-1999 --- Great Britain --- #breakthecanon --- Hepworth, Barbara. --- De Saedeleer, Valerius. --- Vlaanderen.
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73.049 --- 711.61 --- 725.91 --- Beeldhouwkunst ; in en op openbare plaatsen --- Beeldhouwkunst ; presentatie in patio's en paviljoenen --- Beeldentuinen --- Architectuur en beeldhouwkunst ; integratie --- Paviljoenen ; voor beeldhouwkunst ; 20ste eeuw --- 73 --- 72.011 --- 72.036 --- 72.039 --- 72.039 Hedendaagse architectuur. Bouwkunst sinds 1960 --- Hedendaagse architectuur. Bouwkunst sinds 1960 --- 72.036 Moderne bouwkunst. Architectuur van de 20e eeuw --- Moderne bouwkunst. Architectuur van de 20e eeuw --- 72.011 Architectuurontwerp. Compositie --- Architectuurontwerp. Compositie --- 711.61 Stadsplanning: pleinen; open ruimten --- Stadsplanning: pleinen; open ruimten --- 73 Beeldhouwkunst. Sculptuur --- Beeldhouwkunst. Sculptuur --- 725.91 Tentoonstellingsgebouwen. Expositiehallen --- Tentoonstellingsgebouwen. Expositiehallen --- Beeldhouwkunst ; iconografie ; verschillende onderwerpen --- Stedenbouw. Ruimtelijke ordening ; pleinen, open ruimten --- Openbare gebouwen ; tentoonstellingsgebouwen --- departement Beeldende Kunst 09 --- ruimtelijke kunst --- 73 Plastic arts --- Plastic arts
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In The Pliable Plane, curator and historian Penelope Curtis traces the ways sculpture infiltrated architectural thought over the post-war period. Her study identifies the wall as a particular locus of creative thinking – a surface which produces both continuity and separation, and which similarly unites and distinguishes the two disciplines. Surveying a series of walls – carved, cast, applied, imagined, and even conceptual – in such places as bomb shelters, caves, war memorials, and public buildings, Curtis introduces a cast of renowned and lesser-known practitioners who defined the three-dimensional conception of the years 1945 to 1975.With close readings of the work and lives of Henry Moore, Anni Albers, Frederick Kiesler, Jorge Oteiza, and Mary Martin, among others, Curtis’s lucid history encompasses the developments of wartime production, the discovery of the Lascaux Caves, and the rise of relief art. Turning away from familiar pairings and dichotomies, it considers spaces and surfaces of coalescence and influence. Curtis compels us to understand the wall as support as much as partition, arguing for the centrality of this very pliability to the entwined development of both sculpture and architecture.
Art and architecture --- Sculpture --- Architecturale follies ; grotten --- Architectuur en beeldhouwkunst ; integratie --- Moore, Henry 1898-1986 (°Castleford, Yorkshire, Groot-Brittannië) --- Albers, Anni (Annelise Else Frieda Fleischmann) 1899-1994 (°Berlijn, Duitsland) --- Beelden buiten ; beeldhouwkunst in de publieke ruimte --- Kunsttheorie ; kunst in de publieke ruimte --- Beeldhouwkunst ; reliëfs --- 73:72 --- 73.01 --- 72.049 --- 73.049 --- Beeldhouwkunst en architectuur --- Beeldhouwkunst ; theorie, filosofie, esthetica --- Architectuur ; verschillende onderwerpen --- Beeldhouwkunst ; iconografie ; verschillende onderwerpen --- kunst --- kunsttheorie --- beeldhouwkunst --- architectuur --- kunstgeschiedenis --- Art --- reliefs [sculptures] --- architecture [object genre] --- walls --- sculpture [visual works] --- architecture [discipline] --- wanden --- Murs --- Matières plastiques. --- Esthétique. --- Architecture
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Art --- Sculpture --- sculpting --- Horn, Rebecca --- Baumgarten, Lothar --- Cragg, Tony --- Fabro, Luciano --- Fontana, Lucio --- Ryan, Veronica --- Penone, Giuseppe --- Merz, Mario --- Head, Tim --- Hesse, Eva --- Gormley, Antony --- Rückriem, Ulrich --- Deacon, Richard --- Tate Gallery [London] --- anno 1900-1999 --- Europe
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Art styles --- Iconography --- Art --- History --- art [discipline] --- art history --- geometric figures --- figurative art --- Kinetic Art --- Abstract [modern European style] --- Nouveau Réalisme --- human figures [visual works] --- Pop [fine arts styles] --- Tate Gallery [London] --- anno 1940-1949 --- anno 1950-1959 --- anno 1960-1969 --- anno 1970-1979 --- anno 1900-1999 --- anno 2000-2099 --- Europe
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