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Art --- samples --- sculpture [visual works] --- drawing [image-making] --- animal art --- human figures [visual works] --- illustrations [layout features] --- Chauveau, Léopold --- misvormde dieren, mismaakte dieren; monsters --- misvormde dieren, mismaakte dieren; monsters. --- Chauveau, Léopold.
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D'abord peintre, Maillol se tourne vers la tapisserie et les arts décoratifs. Mal connue, cette première partie de sa carrière, au cours de laquelle il regarde Gauguin et Puvis de Chavannes et tisse des liens étroits avec les Nabis, montre un artiste désireux de retrouver les principes du décor mural. Il découvre la sculpture vers 1895 seulement, d'abord sur bois et de petites dimensions : Octave Mirbeau et Ambroise Vollard entre autres en reconnaissent les qualités. La Méditerranée réalisée pour le comte Kessler apparaît comme le manifeste du "retour à l'ordre", dont Maillol est un acteur majeur : proscrivant toute recherche d'expression, il instaure un nouveau classicisme et inscrit des corps féminins, à l'anatomie charpentée et sensuelle, dans des formes géométriques simples. Maillol passe avec aisance de l'esquisse au monumental, dans des allers-retours continuels. L'imposant Monument à Cézanne invite à plonger dans son processus créateur, avant les grandes figures, aboutissement d'un parcours dans lequel la recherche d'une perfection formelle tient une place essentielle.
Sculpture, French --- Painting, French --- Maillol, Aristide, --- kunstenaarsmodel --- modellen (persoon) --- Les Nabis --- Maillol, Aristide --- Bibesco, Hélène --- Denis, Maurice --- Cézanne, Paul --- Kessler, Harry (graaf) --- Von Mutzenbecher, Kurt --- Von Bodenhausen, Eberhard --- 19de eeuw --- kunstenaarsmodel. --- modellen (persoon). --- Les Nabis. --- Maillol, Aristide. --- Bibesco, Hélène. --- Denis, Maurice. --- Cézanne, Paul. --- Kessler, Harry (graaf). --- Von Mutzenbecher, Kurt. --- Von Bodenhausen, Eberhard. --- 19de eeuw. --- wereldtentoonstelling 1895 (Bordeaux). --- tentoonstelling Bordeaux (1895). --- stadsgezichten. --- Société Philomathique de Bordeaux. --- Bordeaux.
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An unprecedented exploration of Gauguin?s works in various media, from works on paper to clay and furniture Paul Gauguin (1848?1903) was a creative force above and beyond his legendary work as a painter. Surveying the full scope of his career-spanning experiments in different media and formats?clay, works on paper, wood, and paint, as well as furniture and decorative friezes?this volume delves into his enduring interest in craft and applied arts, reflecting on their significance to his creative process. Gauguin: Artist as Alchemist draws on extensive new research into the artist?s working methods, presenting him as a consummate craftsman?one whose transmutations of the ordinary yielded new and remarkable forms. Beautifully designed and illustrated, this book includes essays by an international team of scholars who offer a rich analysis of Gauguin?s oeuvre beyond painting. By embracing other art forms, which offered fewer dominant models to guide his work, Gauguin freed himself from the burden of artistic precedent. In turn, these groundbreaking creative forays, especially in ceramics, gave new direction to his paintings. The authors? insightful emphasis on craftsmanship deepens our understanding of Gauguin?s considerable achievements as a painter, draftsman, sculptor, ceramist, and printmaker within the history of modern art.
Painting, French --- Peinture française --- Gauguin, Paul, --- Sculpture --- Painting --- sculpture [visual works] --- easel paintings [paintings by form] --- Gauguin, Paul --- Exhibitions --- Peinture française
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