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

作者: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
出版商: Portland, Me. : Portland Museum of Art ; Seattle : Distributed by the University of Washington Press, 1996.
版本/格式:   圖書 : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
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  再讀一些...
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詳細書目

類型/形式: Exhibition catalogs
Exhibitions
Exposiciones
其他的實體格式: 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
提及的人: Pablo Picasso; Georges Braque; Fernand Léger
文件類型: 圖書
所有的作者/貢獻者: Kenneth Wayne; Pablo Picasso; Georges Braque; Fernand Léger; Portland Museum of Art.
ISBN: 0916857085 9780916857080
OCLC系統控制編碼: 35549188
注意: Catalog of an exhibition held at the Portland Museum of Art, Maine, June 29-October 20, 1996.
描述: 64 p. : ill. (some col.) ; 28 cm.
内容: Picasso's guiding spirit --
Late cubism(s) --
Cubism and modern French design --
Exhibition checklist --
Chronology --
Lenders to the exhibition.
責任: Kenneth Wayne, with an essay by Christopher Green.

摘要:

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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