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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.
Editora: Portland, Me. : Portland Museum of Art ; Seattle : Distributed by the University of Washington Press, 1996.
Edição/Formato   Livro : InglêsVer todas as edições e formatos
Base de Dados:WorldCat
Resumo:
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  Ler mais...
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Detalhes

Gênero/Forma: Exhibition catalogs
Exhibitions
Exposiciones
Formato Físico Adicional: 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
Pessoa Denominada: Pablo Picasso; Georges Braque; Fernand Léger
Tipo de Documento: Livro
Todos os Autores / Contribuintes: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
ISBN: 0916857085 9780916857080
Número OCLC: 35549188
Notas: Catalog of an exhibition held at the Portland Museum of Art, Maine, June 29-October 20, 1996.
Descrição: 64 p. : ill. (some col.) ; 28 cm.
Conteúdos: Picasso's guiding spirit --
Late cubism(s) --
Cubism and modern French design --
Exhibition checklist --
Chronology --
Lenders to the exhibition.
Responsabilidade: Kenneth Wayne, with an essay by Christopher Green.

Resumo:

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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