Download or read book Garicault s Heroic Landscapes written by Gary Tinterow and published by . This book was released on 1990 with total page 76 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Picture Collector s Manual written by James R. Hobbes and published by . This book was released on 1849 with total page 650 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Monet written by Nathalia Brodskaya and published by Parkstone International. This book was released on 2011-12-22 with total page 132 pages. Available in PDF, EPUB and Kindle. Book excerpt: For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.
Download or read book Claude Monet written by Nina Kalitina and published by Parkstone International. This book was released on 2012-01-17 with total page 200 pages. Available in PDF, EPUB and Kindle. Book excerpt: For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.
Download or read book Creativity written by Harriet Hawkins and published by Routledge. This book was released on 2016-10-04 with total page 428 pages. Available in PDF, EPUB and Kindle. Book excerpt: Creativity, whether lauded as the oil of the 21st century, touted as a driver of international policy, or mobilised by activities, has been very much part of the zeitgeist of the last few decades. Offering the first accessible, but conceptually sophisticated account of the critical geographies of creativity, this title provides an entry point to the diverse ways in which creativity is conceptualized as a practice, promise, force, concept and rhetoric. It proffers these critical geographies as the means to engage with the relations and tensions between a range of forms of arts and cultural production, the cultural economy and vernacular, mundane and everyday creative practices. Exploring a series of sites, Creativity examines theoretical and conceptual questions around the social, economic, cultural, political and pedagogic imperatives of the geographies of creativity, using these geographies as a lens to cohere broader interdisciplinary debates. Central concepts, cutting-edge research and methodological debates are made accessible with the use of inset boxes that present key ideas, case studies and research. The text draws together interdisciplinary perspectives on creativity, enabling scholars and students within and without Geography to understand and engage with the critical geographies of creativity, their breadth and potential. The volume will prove essential reading for undergraduate and post-graduate students of creativity, cultural geography, the creative economy, cultural industries and heritage.
Download or read book A Biographical and Critical Dictionary of Painters Engravers Sculptors and Architects from Ancient to Modern Times written by Shearjashub Spooner and published by . This book was released on 1853 with total page 1274 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book A Biographical History of the Fine Arts Or Memoirs of the Lives and Works of Eminent Painters Engravers Sculptors and Architects written by Shearjashub Spooner and published by . This book was released on 1865 with total page 662 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Nation Made Real written by Anthony D. Smith and published by Oxford University Press. This book was released on 2013-01-24 with total page 233 pages. Available in PDF, EPUB and Kindle. Book excerpt: Focusing on national identity in the Netherlands, France, and Britian, The Nation Made Real offers an original interpretation of the role of visual art in the making of nations in Western Europe.
Download or read book Congressional Record written by United States. Congress and published by . This book was released on 1966 with total page 1480 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Color and Culture written by John Gage and published by Univ of California Press. This book was released on 1999 with total page 344 pages. Available in PDF, EPUB and Kindle. Book excerpt: An encyclopaedic work on color in Western art and culture from the Middle Ages to Post-Modernism.
Download or read book The Classical Heritage in Nordic Art and Architecture written by Marjatta Nielsen and published by Museum Tusculanum Press. This book was released on 1990 with total page 306 pages. Available in PDF, EPUB and Kindle. Book excerpt: This volume contains eighteen articles dealing with the "reception" of Classical art and architecture in the Scandinavian countries, mainly Denmark, from the Renaissance onwards. This volume is the publication of an interdisciplinary seminar held at the University of Copenhagen 1988 with the participation of archaeologists and art historians.
Download or read book The Works of Eminent Masters in Painting Sculpture Architecture and Decorative Art written by and published by . This book was released on 1854 with total page 630 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Various Positions written by Ira B. Nadel and published by Vintage Canada. This book was released on 2010-10-29 with total page 432 pages. Available in PDF, EPUB and Kindle. Book excerpt: Reissued with a new afterword Leonard Cohen is back! With a #1 bestselling poetry collection, The Book of Longing, flying off bookshelves; Lian Lunson’s acclaimed documentary, Leonard Cohen: I’m Your Man, in theatres this summer (the DVD will release this fall); and the superb soundtrack in music stores everywhere, Leonard Cohen proves he is Canada’s most enduring icon. Now, in the newly reissued Various Positions, Ira Nadel peels back the many layers to reveal the man and explain the fascinating relationship between Leonard Cohen’s life and his art. This book is a remarkable and rare look at Leonard Cohen, up close and personal. For nearly forty years, Leonard Cohen has endured the ups and downs of an international career that has alternately identified him as the "Prince of Bummers" and Canada's most respected poet and performer. Now, author Ira Nadel brings us closer to understanding these conflicting descriptions and allows us to enter Cohen's private world. He peels back the many layers to reveal the man and explain the fascinating relationship between Cohen's life and his art. This is a remarkable and rare look at Leonard Cohen, up close and personal.
Download or read book Global Art Cinema written by Rosalind Galt and published by Oxford University Press. This book was released on 2010-04-14 with total page 408 pages. Available in PDF, EPUB and Kindle. Book excerpt: "Art cinema" has for over fifty years defined how audiences and critics imagine film outside Hollywood, but surprisingly little scholarly attention has been paid to the concept since the 1970s. And yet in the last thirty years art cinema has flourished worldwide. The emergence of East Asian and Latin American new waves, the reinvigoration of European film, the success of Iranian directors, and the rise of the film festival have transformed the landscape of world cinema. This book brings into focus art cinema's core internationalism, demonstrating its centrality to understanding film as a global phenomenon. The book reassesses the field of art cinema in light of recent scholarship on world film cultures. In addition to analysis of key regions and films, the essays cover topics including theories of the film image; industrial, aesthetic, and political histories; and art film's intersections with debates on genre, sexuality, new media forms, and postcolonial cultures. Global Art Cinema brings together a diverse group of scholars in a timely conversation that reaffirms the category of art cinema as relevant, provocative, and, in fact, fundamental to contemporary film studies.
Download or read book The Collected Works of W B Yeats Vol V Later Essays written by William Butler Yeats and published by Simon and Schuster. This book was released on 1994-09-30 with total page 409 pages. Available in PDF, EPUB and Kindle. Book excerpt: Compiling nineteen essays and introductions, a volume with explanatory notes includes Per Amica Silentia Lunae and On the Boiler as well as introductions on Shelley and Balzac and essays on Irish poetry and politics.
Download or read book Landscape Imagery Politics and Identity in a Divided Germany 1968 989 written by Catherine Wilkins and published by Routledge. This book was released on 2017-07-05 with total page 402 pages. Available in PDF, EPUB and Kindle. Book excerpt: Landscape Imagery, Politics and Identity in a Divided Germany, 1968-1989 explores the communicative relationship between German landscape painting and the viewing public that developed in the wake of the student revolutions of the late 1960s. The book demonstrates that, contrary to some historical thinking, more similarities than differences characterized the sociopolitical concerns of East and West Germans during the late Cold War Era, and that it was these shared issues that were reflected in the revival of the Romantic painting genre. Catherine Wilkins focuses on recovering the agency of the individual artist and in revising historiography with sensitivity to narration 'from below.' Interdisciplinary in nature, art historians can benefit from the study's analysis of images and artists not widely known outside of Germany. Additionally, the consolidation of statistics and data regarding German postwar cultural policy are relevant for political and cultural historians. The author contributes to the ongoing multidisciplinary debates regarding Histoire Crois?(in arguing that a clear dichotomy between East Germany and West Germany did not exist but rather that the residents of both nations shared a concern over some of the same issues of the period) and memory studies (by using images as primary historical sources, able to be employed in the recovery of potentially 'subversive' memory and identity). Issues related to gender relations, environmentalism, and spiritual belief are addressed by Wilkins, with appeal for scholars working with those particular themes. Poststructuralist and literary theorists as well can find arguments supporting an alternative means of writing history through artworks and private memories.
Download or read book The Georgian London Town House written by Kate Retford and published by Bloomsbury Publishing USA. This book was released on 2019-03-07 with total page 357 pages. Available in PDF, EPUB and Kindle. Book excerpt: For every great country house of the Georgian period, there was usually also a town house. Chatsworth, for example, the home of the Devonshires, has officially been recognised as one of the country's favourite national treasures - but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including Devonshire House, no longer exist, having been demolished in the early twentieth century. This book seeks to place centre-stage the hugely important yet hitherto overlooked town houses of the eighteenth and early nineteenth centuries, exploring the prime position they once occupied in the lives of families and the nation as a whole. It explores the owners, how they furnished and used these properties, and how their houses were judged by the various types of visitor who gained access.
