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

Auteur : Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
Éditeur : Portland, Me. : Portland Museum of Art ; Seattle : Distributed by the University of Washington Press, 1996.
Édition/format :   Livre : AnglaisVoir toutes les éditions et les formats
Base de données :WorldCat
Résumé :
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  Lire la suite...
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Détails

Genre/forme : Exhibition catalogs
Exhibitions
Exposiciones
Format – détails additionnels : 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
Personne nommée : Pablo Picasso; Georges Braque; Fernand Léger
Format : Livre
Tous les auteurs / collaborateurs : Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
ISBN : 0916857085 9780916857080
Numéro OCLC : 35549188
Notes : Catalog of an exhibition held at the Portland Museum of Art, Maine, June 29-October 20, 1996.
Description : 64 p. : ill. (some col.) ; 28 cm.
Contenu : Picasso's guiding spirit --
Late cubism(s) --
Cubism and modern French design --
Exhibition checklist --
Chronology --
Lenders to the exhibition.
Responsabilité : Kenneth Wayne, with an essay by Christopher Green.

Résumé :

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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Données liées


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