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

著者: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
出版: Portland, Me. : Portland Museum of Art ; Seattle : Distributed by the University of Washington Press, 1996.
エディション/フォーマット:   書籍 : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
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  続きを読む
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ジャンル/形式: Exhibition catalogs
Exhibitions
Exposiciones
その他のフォーマット: 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
関連の人物: Pablo Picasso; Georges Braque; Fernand Léger
ドキュメントの種類: 図書
すべての著者/寄与者: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
ISBN: 0916857085 9780916857080
OCLC No.: 35549188
注記: Catalog of an exhibition held at the Portland Museum of Art, Maine, June 29-October 20, 1996.
物理形態: 64 p. : ill. (some col.) ; 28 cm.
コンテンツ: Picasso's guiding spirit --
Late cubism(s) --
Cubism and modern French design --
Exhibition checklist --
Chronology --
Lenders to the exhibition.
責任者: Kenneth Wayne, with an essay by Christopher Green.

概要:

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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