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Religious subject matter is not central in 20th century art. One might therefore suspect that, for the avantgarde, the Spanish Civil War (1936-1939) would have eclipsed religion altogether. However, as Juan José Lahuerta argues in this book, the war caused a considerable revival of certain themes of religious art. In particular, it intensified Pablo Picasso's lifelong preoccupation with the subject of the Crucifixion. The work of the Swiss surrealist painter Max von Moos (1903-1979) throws additional light on the paradox at hand. In 1938, i.e. one year after Picasso painted 'Guernica', von Moos published an essay entitled 'Religious painting of our time' that addresses some of the critical issues then confronted by church art: issues of communication and expression, realism and abstraction that turn out to offer surprising insights into Picasso's art - if not into modern art altogether.
Painting --- Christian religion --- religious art --- easel paintings [paintings by form] --- Picasso, Pablo --- Moos, von, Max --- Christian art and symbolism. --- Painting, Modern --- Art et symbolisme chrétiens --- Peinture --- Picasso, Pablo, --- Moos, Max von, --- Jesus Christ --- Criticism and interpretation. --- Crucifixion --- Art. --- Art et symbolisme chrétiens
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Gaudí, Antoní --- Architecte --- Gaudi, Antonio --- 19e siècle --- 20e siècle --- Gaudi i Cornet, Antoni 1852-1926 (°Reus, Catalonië, Spanje) --- Architectuur ; Art Nouveau ; Barcelona ; A. Gaudi --- Organische architectuur --- Architectuur; Spanje; Barcelona --- Modernismo Catalán --- 72.07 --- Architecten. Stedenbouwkundigen A - Z --- Architecture --- Gaudí, Antoni, --- Architects --- Eclecticism in architecture --- Biography. --- History --- Gaudí, Antoni, --- Gaudí, Antoni, 1852-1926 --- Architecture Art nouveau --- Politique publique
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Juan José Lahuerta’s Columns of Smoke series offers bold new readings of modernity and its key figures while redefining the connections between architecture, ornamentation, and the portrayal of both in print media. The third volume focuses on the Spanish architect Antoni Gaudí (1852–1926), whose spectacular fin-de-siècle bohemian modernism stood in revolutionary contrast to the leading approaches of the day.With the rise of Le Corbusier’s modern style of architecture in the early twentieth century, architects who favored ornamentation and a strong bond with nature, like Gaudí, were relegated to the sidelines. Lahuerta draws on first-hand documents, many previously unpublished, to show that Gaudí, far from being the isolated eccentric seen in other accounts, was keenly aware of the major theories and works of his time and cleverly used industrial processes to produce ornamental details that appear today to be almost handmade. Equally impressive was Gaudí’s ability to capitalize on his fame once in the public eye, as both the architect and his buildings appeared in illustrations in the popular press. His influence on avant-garde artists like Salvador Dalí, who admired the edible appearance of Gaudí’s Casa Milà in Barcelona, and Pablo Picasso, who was fascinated by the eroticism of the Casa Batlló, attests to the architect’s impact far beyond his field.Richly illustrated with rare images from a variety of sources, this highly visual take on Gaudí is also a spirited commentary on the roots of modernism more generally. Entertaining and perceptive, Antoni Gaudí challenges us to reconsider what we thought we knew about this pioneering architect and his distinctive work.
72.04 --- Gaudí, Antoni --- Ornamenten (architectuur) --- MAD-faculty 16 --- stijlleer --- Architecture --- Modernisme [Art Nouveau ] --- modernisme --- Gaudí, Antoní
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Miralles, Enric --- Architecture, Modern --- Designs and plans. --- Miralles, Enric., --- Architecte --- 20e siècle --- Architects --- Architecture --- Architectural practice, International. --- Architectes --- History --- Histoire --- Pratique internationale --- Miralles, Enric.
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n Loos, Ornament and Crime is the most controversial of the essays in the series entitled Columns of Smoke, in which Professor Juan José Lahuerta undertakes an acute and thoroughly documented rereading of modernity, linking the ideas of architecture and ornamentation and exploring the ways these have been treated in print.In the previous volume of this series Lahuerta exploded clichés with his penetrating analysis of Loos's relationship with photography, and here he examines in fine detail the architect's written work, and in particular the texts that engage with architectural and artistic theory and continue the classical tradition of Schinkel, Semper and Riegl — an allegiance readily apparent in Loos's architecture. Lahuerta also discusses other articles in which Loos confronted his fellow architects over issues far removed from their shared profession, and shows us with tellingly insightful examples how 'Ornament and Crime', the founding essay of modernity that established disornamentation as the signal feature of twentieth-century architecture and culture, belongs to this second category. The ornament that Loos criminalizes, in language charged with the vocabulary of criminal anthropology and bioevolutionism of Max Nordau and Cesare Lombroso, has less to do with the decoration of buildings than with the tattoos, beads and feathers of 'primitives' and degenerates — women, Papuans, artists and criminals. Lahuerta traces Loos's adoption of pseudo-scientific beliefs that shaped the culture of the early twentieth century, and in so doing dismantles the historical value accorded to his famous text, which in this reading takes on a deeply disturbing significance.
72.01 --- Loos, Adolf --- Architectuurtheorie --- Architectuur (theorie) --- MAD-faculty 16 --- stijlleer
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Iconography --- Painting --- Photography --- painting [image-making] --- photography [process] --- architectural elements --- Förg, Günther --- anno 1900-1999 --- Germany --- Switzerland
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