Download Art: Everything You Need to Know About the Greatest Artists by Susie Hodge PDF

By Susie Hodge

From the influential craftsmen of the excessive renaissance to the Dutch masters, and from the rococo and neoclassical events of the 18th century to romanticism, modernism and modern paintings, the lives of the good artists are as various and multifaceted because the works of artistic genius they produced.

The nice paintings consultant introduces readers to a hundred of the world’s most vital artists, from the thirteenth century to the current. Works by way of artists corresponding to Caravaggio, Vermeer, van Gogh and Warhol are prepared chronologically and set of their old context through Susie Hodge’s authoritative narrative.

Succinct and insightful artist profiles are observed via fine quality reproductions of the individual’s most vital artistic endeavors. together with a thesaurus of keywords and a complete checklist of an important paintings associations from around the globe, this concise and readable advisor is a pleasure for college kids of artwork or someone desirous to be aware of extra approximately nice artistic endeavors.

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Extra info for Art: Everything You Need to Know About the Greatest Artists and Their Work

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24, 1951, 2. –Oct. 1970, 42. , 43. 7 Alloway, “Symbolism in the Third Man,” World Review, Mar. 1950, 60. 8 Eugene Jolas, “Mushrooming Magazines” in the “Across Frontiers” column in NY Herald Tribune, Apr. 11, 1950, in The Lawrence Alloway Papers, 44/15. 9 Alloway, “Matta,” 3. 2 The ICA in the early 1950s the ica in the early 1950s The ICA had been at last able to purchase its own premises in late 1950. ”¹ The opening exhibition, 1950: Aspects of British Art, emphasized the more adventurous younger British artists such as Eduardo Paolozzi, Richard Hamilton, and William Turnbull—artists about whom Alloway would soon be writing.

His discipline extended to his writing the text during the honeymoon of his marriage to Sylvia Sleigh which took place on June 28, 1954. ”¹0 Adams, Heath, Hill, and the Martins were bracketed with him. ”¹¹ Theirs is a kind of “sensual impressionism without things. ”¹³ From his comments, it is apparent that he felt the “St Ives” tendency less successful, not because of an aesthetic predilection for non-objectivity or hard-edged forms on his part but because of the undercurrent in the semi-abstract work of the British disease of Romanticism.

We felt none of the dislike of commercial culture standards amongst most intellectuals, but accepted it as fact, discussed it in detail, and consumed it enthusiastically. ¹² It may have been discussed seriously, but that did not mean it was discussed earnestly. Topics were debated enthusiastically and with passion, revealing them to be live interests and pet subjects. Popular culture— which was referred to in IG circles in the 1950s as “Pop” or “pop”¹³—was not discussed just as a social phenomenon but as pleasure.

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