Häftad, Engelska, 2006
360 kr
Skickas inom 11-20 vardagar
Laddar lista
360 kr
Skickas inom 11-20 vardagar
318 kr
Skickas inom 5-8 vardagar
Focusing on prints (etchings, drypoints, color lithographs), Picasso and the Circus presents a pivotal moment in Picasso's early career, between his Blue and Rose Periods, when he was increasingly drawn to the subject of the circus in Paris. The book analyzes the circus and related spectacles in fin-de-siecle Paris, and how they were interpreted by print arts of the era, including Jules Cheret, Henri-Gabriel Ibels, Henri Gray, Edgar Chahine, and Richard Ranft. It then considers Pablo Picasso's Suite de Saltimbanques (1904-6), an early and highly important series of etchings and drypoints related primarily to acrobats (saltimbanques).The popularity of the circus in late 19th-and early 20th-century Paris certainly resonates in the works of many artists. From sensational--and sensationalized--feats of strength and prowess to moving depictions of poverty and the life of the outcast, these prints not only expand our understanding of the period, they also represent some of Picasso's finest work.
396 kr
Skickas inom 5-8 vardagar
In the 1880s, James McNeil Whistler revolutionized the way artists represented the city of Venice by producing images that moved away from the major tourist monuments to depict the squares, back alleys, and isolated canals that only residents knew. His novel approach inspired generations of printmakers who worked in Venice, and this book celebrates their work.Ernest David Roth (1879-1964) was one of the most significant American etchers of the first half of the 20th century, and his most important achievements are the views he did of Venice between 1905 and 1941. Roth and his friends John Taylor Arms and Louis Rosenberg formed the nucleus of a circle of American etchers that created a timeless vision of European and American cityscapes and landscapes in the 1920s and 1930s, and their Venetian views are at the center of their accomplishment.
241 kr
Skickas inom 5-8 vardagar
Red Star transforms archival photographs, crafts and other artifacts from museum collections across the US into multimedia assemblages bridging past and present Indigenous histories
This project, Her Dreams Are True, provides a new perspective on the role of archives, museum collections and personal memory in Wendy Red Star's work. Apsáalooke (Crow) artist Wendy Red Star works across mediums to reconsider and liberate archival photographs and materials from a fixed historical moment. Starting with the Peace Crow Delegation series (2014), This publication articulates the connections between Red Star's annotated 19th-century portraits and her more recent works that recontextualize hand-painted illustrations of artifacts in the Denver Art Museum's Indigenous collection. Red Star juxtaposes these with her own photographs of the Crow Nation's annual fair in Montana. Returning to her handwritten notes in the Bíiluuke series (2023), Red Star also provides a nuanced intervention with Apsáalooke heritage items from several public collections. More than a meditation on the past, Red Star's archival work looks to the future and offers a new perspective on rematriation.Wendy Red Star (born 1981) was born in Billings, Montana, and lives and works in Portland, Oregon. She earned her BFA from Montana State University, Bozeman, and her MFA from the University of California, Los Angeles. Red Star's first solo exhibition, A Scratch on the Earth, opened at the Newark Museum of Art and toured to the San Antonio Museum of Art and the Columbus Museum of Art. She has received numerous awards and grants including a 2018 Smithsonian Artist Research Fellowship, a 2022 Anonymous Was A Woman Grant and a 2024 MacArthur Fellowship.