|提及的人：||Amedeo Modigliani; Amedeo Modigliani; Amedeo Modigliani; Amedeo Modigliani; Amedeo Modigliani; Amedeo Modigliani|
Amedeo Modigliani; Mason Klein; Maurice Berger; Jewish Museum (New York, N.Y.); Art Gallery of Ontario.; Phillips Collection.
|ISBN:||030010264X 9780300102642 0300105738 9780300105735|
|注意：||Catalog of an exhibition at the Jewish Museum, New York, May 21-Sept. 19, 2004; the Art Gallery of Ontario, Oct. 23, 2004-Jan. 23, 2005; and the Phillips Collection, Washington, D.C., Feb. 19-May 29, 2005."|
|描述：||xiii, 241 pages : illustrations (some color) ; 31 cm|
|内容：||Modigliani against the grain / Mason Klein --
The faces of Modigliani: identity politics under fascism / Emily Braun --
Making and masking: Modigliani and the problematic of portraiture / Tamar Garb --
Modigliani and the bodies of art: carnality, attentiveness, and the modernist struggle / Griselda Pollock --
Epilogue: The Modigliani myth / Maurice Berger.
|责任：||edited by Mason Klein ; with essays by Maurice Berger [and others].|
"Amedeo Modigliani (1884-1920) is one of the best known - and most misunderstood - artists of the twentieth century. His incisive portraits, erotically charged nudes, elegant drawings of caryatids, and primitivistic sculpture have been admired for decades. Modigliani's work, however, has typically been examined in the limited context of his so-called bohemian, anti-intellectual lifestyle. This book revises this approach toward Modigliani's art, presenting a revisionist examination of the unique historical, social, religious, and cultural significance of his oeuvre." "Modigliani: Beyond the Myth looks at the artist and his art from a variety of important perspectives: his proud heritage as a Sephardic Jew, whose spirituality embraced non-Western, classical, and Christian iconography while retaining its own ethnic identity; his critical engagement and melding of tribal and ethnographic art with Judaism in his portraiture; the representation of the female nude in his works from a feminist cultural perspective; the remarkable reception of his work in Italy after his death, and the failure of traditional art history to account for or analyze these important aspects of his life and work."--Jacket.