Cubism has been one of the most important and influential movements in twentieth-century art. In the eight years between 1906 and 1914, Cubism, and in particular Pablo Picasso and Georges Braque, were to change the technique and form of painting radically and for ever. Originating in Paris, the movement became a truly international force, and one with a profound impact on human visual experience. This book, illustrated with over 300 photographs, presents a vivid evocation of Cubism as a historic and aesthetic force. Copyright © Libri GmbH. All rights reserved.

As you'll find out in this guide to the fundamentals of cubism, there is more to the genre than its most famous proponent. Cubism -- often identified by flattened, geometric shapes, overlapping, simplified forms and fragmented spatial planes -- was quite possibly the most influential movement in 20th-century art. Featured artists: Pablo Picasso, Edmond Fortier, Paul Cizanne, George Braque, Henri Le Fauconnier, Jean Metzinger, Fernand Liger, Juan Gris, Albert Gleizes, Henri Laurens, Salvador Dalm, Brassao, Robert Delaunay, Raymond Duchamp-Villon... TASCHEN's Basic Art movement and genre series: includes a detailed introduction with approximately 30 photographs, and a timeline of the most important events (political, cultural, scientific, sporting, etc.) that took place during the time period. The body of the book contains a selection of the most important works of the epoch; each is presented on a 2-page spread with a full page image and, on the facing page, a description/interpretation.

This is a new, authoritative translation and critical edition of one of the twentieth-century's most important and poetically resonant books on Picasso, Braque, Cubism, and the beginnings of modern art.

Analyzes the works of a variety of modern artists including Edward Hopper, Louise Nevelson, Chuck Close, and Julian Schnabel.

In our highly sensory and interactive age, how might drawing upon various arts--music, film, architecture, dramatic performance, painting, fashion, and more--expand the aesthetic experience and mode of preaching? This book presents a critical, practical answer to the question. As our society becomes more visually oriented, art-seeking, and body-positive, the practice of preaching is likewise challenged to demonstrate the mind-body, word-visual, and artistic proclamation of the Sacred (after all, isn't the writing of the Bible itself highly art-full and aesthetic?). In this book, Sunggu A. Yang, a seasoned preacher and experienced teacher of preaching, encourages preachers to utilize their unique artistic talents as critical sources of theological and homiletical imagination and as hermeneutical-perspectival tools to aid their rigorous exegetical process of interpreting Scripture, eventually toward artistic-holistic sermon composition and delivery. A sample syllabus, included in the appendix, will greatly assist any preaching instructor who wants to offer a creative course on arts and preaching.

Discusses the characteristics of the Cubism movement which began in the first decade of the twentieth century and presents biographies of thirteen Cubist artists.

Writings by the conceptual artist Michael Asher—including notes, proposals, exhibition statements, and letters to curators and critics—most published here for the first time. The California conceptual artist Michael Asher (1943–2012) was known for rigorous site specificity and pioneering institutional critique. His decades of teaching at CalArts influenced generations of artists. Much of Asher's artistic practice was devoted to creating works that had no lasting material presence and often responded to the material, social, or ideological context of a situation. Because most of Asher's artworks have ceased to exist, his writings about them have special significance. Public Knowledge collects writings by Asher about his work—including preliminary notes and ideas, project proposals, exhibition statements, and letters to curators and critics—most of which have never been previously published. Asher gave few interviews, didn't write art criticism, and rarely published extensive accounts of his own work. Yet writing was central to his artistic practice, serving as a tool for working out ideas, negotiating institutional parameters, and describing thought processes. In these texts, he considers writing and documentation, discusses artistic practice, offers notes for gallery and museum talks, presents artist statements for exhibition-goers, describes individual works and their situational context, and reflects on teaching and art education. Among other things, Asher provides his definition of site specificity, addresses the function of art in public space, and analyzes the intersection of teaching art and institutional models of education. Readers will see an artist at work, formulating ethical and political strategies for making art in a situational world.