La dissolution d'un monde

Sample

contributing authors, Roland Dorn ... [et al

"Published to accompany a major touring exhibition, this book brings together for the first time the great portraits from all periods of the painter's life. The story begins with the relatively unknown body of vivid, carefully executed drawings of orphans and paupers produced in The Hague when he was a young man. It continues with van Gogh's time in Paris, where the influence of Impressionism, Japanese art, and contemporaries like Gauguin and Bernard led him to produce some of his most famous images.". "Each work is reproduced and set in context by leading scholars. Individually, their essays focus on particular groups of work, shedding new light on van Gogh's aims and methods. Collectively, they establish the centrality of portraiture to his oeuvre."--BOOK JACKET.

Sample

Bruce Altshuler

The avant-garde is a twentieth-century phenomenon. By the turn of the nineteenth century, artists were beginning to address a far larger audience than ever before, and it was one on whose understanding they could no longer depend. Aesthetic concerns, too, had shifted from representing visual phenomena to reconfiguring the visible world in new and complicated ways. The public was rarely amused. Indeed, as these newer forms of art were presented in now famous exhibitions, derision and anger were the customary responses of the public and the critics. Artists formed more or less cohesive groups of like-thinking individuals who styled themselves the "avant-garde," really a military term for those pathfinders who first venture into unknown or enemy territory. Through photographs of personalities, installations, and works of art, and in a lively text that recounts the artistic thinking and the gossip that surrounded each new movement, The Avant-Garde in Exhibition: New Art in the 20th Century traces this phenomenon from its beginnings in the Fauvist Salon d'Automne in Paris in 1905 through such notorious events as the exhibitions of the Section d'Or (Paris) and the Blue Rider (Munich), the Armory Show (New York), the Futurist 0-10 exhibition (Petrograd), the Dada Fair (Berlin), the Nazi's Degenerate Art Exhibition (Munich), the First Papers of Surrealism (New York), Peggy Guggenheim's Art of This Century (New York), the Ninth Street Show (New York), the Gutai Art Association (Japan), Le Vide (Paris), Full-Up (Paris), the New Realists (New York), Primary Structures (New York), and When Attitudes Become Form (Bern).

Sample

Andrew Linzey

In this collection of essays, Linzey counters with his customary wit, erudition, and insight, some contemporary (and perhaps surprising) challenges to animal rights -- from ecotheologians, the Church, and politicians. He contends that far from the sometimes shallow judgments of those who think animals unworthy of theological consideration, the Christian tradition has a wellspring of sources and resources available to taking animals seriously. Instead of being marginal to the Christian experience, Linzey concludes, animals can take their rightful place alongside human beings as creatures of the same God. There is a long forgotten spiritual tradition that two children, both named Jesus, were born in Bethlehem to two sets of parents named Joseph and Mary. This tradition is supported by the different accounts of the nativity and life of Jesus Christ in the gospels of Matthew and Luke. Although the Church chose to ignore this tradition, something of it survived in early Christian art and symbolism. The full tradition was preserved only in the literature of esoteric sects such as Gnosticism, which remained outside the official teachings of institutionalized Christianity. -- Provided by publisher. "I don't know why you're spending all your time on this. They're only animals--for heaven's sake!" That was the reaction of one of Andrew Linzey's fellow students at King's College, London, when he was studying theology in the 1970s. Since then, the now Rev. Dr. Andrew Linzey has been arguing that animals aren't only anything, but rather that they matter to God, and should do so to us. In this collection of essays, Linzey counters with his customary wit, erudition, and insight, some contemporary (and perhaps surprising) challenges to animal rights--from ecotheologians, the Church, and politicians. He contends that far from the sometimes shallow judgments of those who think animals unworthy of theological consideration, the Christian tradition has a wellspring of sources and resources available to taking animals seriously. Instead of being marginal to the Christian experience, Linzey concludes, animals can take their rightful place alongside human beings as creatures of the same God. There is a long forgotten spiritual tradition that two children, both named Jesus, were born in Bethlehem to two sets of parents named Joseph and Mary. This tradition is supported by the different accounts of the nativity and life of Jesus Christ in the gospels of Matthew and Luke. Although the Church chose to ignore this tradition, something of it survived in early Christian art and symbolism. The full tradition was preserved only in the literature of esoteric sects such as Gnosticism, which remained outside the official teachings of institutionalized Christianity. -- Provided by publisher.

Sample

Frank Whitford

"Vasily Kandinsky (1866-1944) is one of the most important and influential painters of the twentieth century, and was one of the first Western artists to create pictures without figurative motifs, consisting exclusively of colours and forms selected and arranged for their own sake. He was also the first 'abstract' painter (although he generally avoided the term) to explain and justify what he was doing. His theoretical writings, including Concerning the Spiritual in Art (1912) and Point and Line to Plane (1926), both classics of their kind, are among the most significant texts written by any artist this century." "In this catalogue of the first major showing of Kandinsky's work for some years, over 130 works on paper are reproduced in full colour and shown in the context of Kandinsky's oeuvre as a whole. In his introductory essay, Frank Whitford traces Kandinsky's entire artistic career, placing it in the context of his life in Russia, Germany and France and highlighting the importance of watercolours in particular."--Jacket.