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Picasso, Braque, Léger, and the Cubist spirit, 1919-1939

Autor: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
Verlag: Portland, Me. : Portland Museum of Art ; Seattle : Distributed by the University of Washington Press, 1996.
Ausgabe/Medienart   Gedrucktes Buch : EnglischAlle Ausgaben und Medienarten anzeigen
Zusammenfassung:
This volume presents art and design in France during the years between the two World Wars, in an effort to dispel the perception that Cubism was only a pre-World War I phenomenon. After the war, Cubist painting became more varied, colorful, and accessible, and began to affect other media such as furniture, fashion, cinema and architecture. What had begun as a rarefied pictorial style became a popular language. The  Weiterlesen…
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Gattung/Form: Exhibition catalogs
Exhibitions
Exposiciones
Physisches Format Online version:
Wayne, Kenneth.
Picasso, Braque, Léger, and the Cubist spirit, 1919-1939.
Portland, Me. : Portland Museum of Art ; Seattle : Distributed by the University of Washington Press, 1996
(OCoLC)605294603
Name: Pablo Picasso; Georges Braque; Fernand Léger
Dokumenttyp Buch
Alle Autoren: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
ISBN: 0916857085 9780916857080
OCLC-Nummer: 35549188
Anmerkungen: Catalog of an exhibition held at the Portland Museum of Art, Maine, June 29-October 20, 1996.
Beschreibung: 64 pages : illustrations (some color) ; 28 cm
Inhalt: Picasso's guiding spirit --
Late cubism(s) --
Cubism and modern French design --
Exhibition checklist --
Chronology --
Lenders to the exhibition.
Verfasserangabe: Kenneth Wayne, with an essay by Christopher Green.

Abstract:

This volume presents art and design in France during the years between the two World Wars, in an effort to dispel the perception that Cubism was only a pre-World War I phenomenon. After the war, Cubist painting became more varied, colorful, and accessible, and began to affect other media such as furniture, fashion, cinema and architecture. What had begun as a rarefied pictorial style became a popular language. The first essay addresses Picasso's abundant and varied cubist painting. The second essay treats the art of three major Cubists -- Picasso, Braque, and Leger -- in the context of the various cubist idioms that developed. The third essay, also broad in scope, examines the significant relationship between Cubism and the decorative arts in France.

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