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Introduction to modern art

Author: Richard StempFilms for the Humanities & Sciences (Firm)Twenty Twenty Television.Channel Four (Great Britain)Tate Gallery.All authors
Publisher: Princeton, NJ : Films for the Humanities & Sciences, 2004, ©2003.
Series: Inside the Tate Modern : a century of modern art.
Edition/Format:   DVD video : EnglishView all editions and formats
Database:WorldCat
Summary:
Segment one of this program presents Rodin's The Kiss, Boccioni's Unique Forms of Continuity in Space, and Picasso's The Three Dancers to chart the progression of distortion as a means of expressing more than what a figurative subject can represent. Segment two uses Kandinsky's Cossacks and Pollock's Summertime Number 9A to illustrate how color, line, and shape communicate ideas and emotions without a recognizable  Read more...
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Details

Genre/Form: Documentary television programs
Educational television programs
Nonfiction television programs
Named Person: Auguste Rodin; Umberto Boccioni; Pablo Picasso; Wassily Kandinsky; William Nicholson; Jackson Pollock; Paul Cézanne; Umberto Boccioni; Paul Cézanne; Wassily Kandinsky; William Nicholson; Pablo Picasso; Jackson Pollock; Auguste Rodin
Material Type: Videorecording
Document Type: Visual material
All Authors / Contributors: Richard Stemp; Films for the Humanities & Sciences (Firm); Twenty Twenty Television.; Channel Four (Great Britain); Tate Gallery.; Tate Modern (Gallery)
ISBN: 0736566872 9780736566872
OCLC Number: 54976690
Credits: Written and narrated by Richard Stemp.
Description: 1 videodisc (15 min.) : sd., col. ; 4 3/4 in.
Details: DVD.
Contents: Distortion --
Abstract art --
Still life.
Series Title: Inside the Tate Modern : a century of modern art.
Responsibility: produced by Twenty Twenty Television for Channel 4.

Abstract:

Segment one of this program presents Rodin's The Kiss, Boccioni's Unique Forms of Continuity in Space, and Picasso's The Three Dancers to chart the progression of distortion as a means of expressing more than what a figurative subject can represent. Segment two uses Kandinsky's Cossacks and Pollock's Summertime Number 9A to illustrate how color, line, and shape communicate ideas and emotions without a recognizable subject. Segment three spotlights Sir William Nicholson's The Lowestoft Bowl, Cžanne's Still Life with Water Jug, and Picasso's Still Life to demonstrate how the still life, in moving from realistic to abstract, made possible the concept of mixed media.

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