Objects of Desire: The Modern Still Life is an incisive exploration of the still life genre as artists have rediscovered and reshaped it in the twentieth century. The innovative purpose of so much of the art of these years has led to a sense of the period as quite hostile to older aesthetic conventions, many of which were widely attacked and abandoned; yet from the century's first decade to the present day, from Pablo Picasso and Henri Matisse through to Cindy Sherman and Charles Ray, artists of many schools have made of the still life a vital opportunity for invention. In an astute and elegant essay, Margit Rowell, Chief Curator of Drawings at The Museum of Modern Art, explains the specific qualities that have made the genre so attractive to artists, and so enduring. Questioning the common perception of the still life as a minor form, a perception that has haunted it over its roughly 400-year history, Rowell shows that still life paintings and sculptures offer a unique index not only of their makers' interests and formal concerns, but of their times. Objects of Desire: The Modern Still Life is published to accompany the exhibition of the same name at The Museum of Modern Art, New York, in the spring of 1997. Tracing the still life through styles and periods from the beginning of the century to its end, the book includes a lavish plate section that makes its own eloquent argument for the genre's fascination and vitality.
Technology and the Visual Arts in the Nineteenth Century
What Great Paintings Say: Masterpieces in Detail
Ciampelli was, like Pomarancio and Giuseppe Valeriano, regularly employed by the Jesuits; see Hibbard in Wittkower and Jaffe 1972, 40-41. 6. Bellori (1672) 1976, 217. 7. See Urbino 1953, 35-36. in 1607 (cat. 77).
Per tale motivo , nel 1908 in America la Germantown sullo schermo , e mettendosi a cantare sul filo dell'accompagna- Citizens ' Association mise al bando questi copricapi da " vedova mento musicale . Un simile coinvolgimento era ...
In the 1940s the Mandragora group around Braulio Arenas and Enrique Gomez Correa emerged in Santiago de Chile , distinguishing Surrealism from the Stalinism of the poet Pablo Neruda . In Buenos Aires the flavour of the movement was ...
Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Apr. 2-Aug. 28, 1995.
The art of Betye and Alison Saar: secrets, dialogues, revelations : Wight art gallery, University of California Los Angeles, [January...
According to A. Sutherland Harris , this painting bore an attribution to Jan Asselijn ' until it was recognised as a work of Du Jardin by Otto Naumann in 1984 ( privately ) . This was confirmed by R. Trnek and accepted by both A. C. ...
David Smith: Drawing + Sculpting : [exhibition], Nasher Sculpture Center, Dallas, April 16 - July 17, 2005
Abstrakter Expressionismus (Abstract Expressionism, Dt.). Der Triumph Der Amerikanischen Malerei