This book offers a radically new perspective on the so-called ‘Pop Art’ creative dynamic that has been around since the 1950s. It does so by enhancing the term ‘Pop Art’ which has always been recognised as a misnomer, for it obscures far more than it clarifies. Instead, the book connects all the art in question to mass-culture which has always provided its core inspiration. Above all, the book suggests that this Mass-Culture Art has created a new Modernist tradition which is still flourishing. The book traces that tradition down the forty and more years since Pop/Mass-Culture Art first came into being in the 1950s, and locates it within its larger historical context. Naturally the book discusses the major contributors to the Pop/Mass-Culture Art tradition right down to the present, in the process including a number of artists who have never previously been connected with so-called ‘Pop Art’ but who have always been primarily interested in mass-culture, and who are therefore partially or totally connected with Pop/Mass-Culture Art. The book reproduces in colour and discusses in great detail over 150 of the key works of the Pop/Mass-Culture Art tradition. Often this involves the close reading of images whose meaning has largely escaped understanding previously. The result is a book that qualitatively is fully on a level with Eric Shanes’s other best-selling and award-winning writings.
Painter, designer, creator of bizarre objects, author and film maker, Dalí became the most famous of the Surrealists. Buñuel, Lorca, Picasso and Breton all had a great influence on his career. Dalí's film, An Andalusian Dog, produced with Buñuel, marked his official entry into the tightly-knit group of Parisian Surrealists, where he met Gala, the woman who became his lifelong companion and his source of inspiration. But his relationship soon deteriorated until his final rift with André Breton in 1939. Nevertheless Dalí's art remained surrealist in its philosophy and expression and a prime example of his freshness, humour and exploration of the subconscious mind. Throughout his life, Dalí was a genius at self-promotion, creating and maintaining his reputation as a mythical figure.
Salvador Dalí (1904-1989) is best known for his unique and striking style with an extraordinary repertoire reaching out across film, painting, photography, and sculpture. Whilst his name may be most commonly associated with Surrealism, Dalí consummately displayed mastery over such broad genres as classical, modernist, and Cubist styles. A crucial figure in art history, Dalí has inspired countless literary works and this edifying Best Of volume gives readers a fascinating insight into the life and career highlights of one of art’s most controversial and exciting pioneers.
At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.
A bestselling historian uncovers the surprising roots of America’s long alliance with Israel and its troubling consequences Fights about the fate of the state of Israel, and the Zionist movement that gave birth to it, have long been a staple of both Jewish and American political culture. But despite these arguments’ significance to American politics, American Jewish life, and to Israel itself, no one has ever systematically examined their history and explained why they matter. In We Are Not One, historian Eric Alterman traces this debate from its nineteenth-century origins. Following Israel’s 1948–1949 War of Independence (called the “nakba” or “catastrophe” by Palestinians), few Americans, including few Jews, paid much attention to Israel or the challenges it faced. Following the 1967 Six-Day War, however, almost overnight support for Israel became the primary component of American Jews’ collective identity. Over time, Jewish organizations joined forces with conservative Christians and neoconservative pundits and politicos to wage a tenacious fight to define Israel’s image in the US media, popular culture, Congress, and college campuses. Deeply researched, We Are Not One reveals how our consensus on Israel and Palestine emerged and why, today, it is fracturing.
Can any of us entirely banish from our hearts and minds grave misgivings about the condition of the culture we now inhabit? Expressions of those misgivings are mostly unheard in public forums, ignored in the dominant media, and, if noticed at all, dismissed by state-supported bureaucracies and commercial vested interests. To have any chance of gaining attention, they must resolve themselves into coherent forms. We need to clarify our perceptions of the things that trouble us, by articulating and developing our thoughts about them. That is, we are in need of serious criticism—serious criticism, aesthetic, social and political—which is notably lacking in the contemporary world, especially in places readily available to the educated non-specialist, such as the 'quality' weekend newspapers, and especially, perhaps, in relation to the visual arts. The pieces collected in this volume are not presented as amounting to an overall account or theory of our cultural condition. They are offered merely as examples of serious criticism, of what we need if we are to begin to think more profitably about our condition, daring, in defiance of contemporary dogmatism, to make the necessary judgements of value without which our culture will continue to disintegrate.
This book offers a radically new perspective on the so-called ‘Pop Art’ creative dynamic that has been around since the 1950s. It does so by enhancing the term ‘Pop Art’ which has always been recognised as a misnomer, for it obscures far more than it clarifies. Instead, the book connects all the art in question to mass-culture which has always provided its core inspiration. Above all, the book suggests that this Mass-Culture Art has created a new Modernist tradition which is still flourishing. The book traces that tradition down the forty and more years since Pop/Mass-Culture Art first came into being in the 1950s, and locates it within its larger historical context. Naturally the book discusses the major contributors to the Pop/Mass-Culture Art tradition right down to the present, in the process including a number of artists who have never previously been connected with so-called ‘Pop Art’ but who have always been primarily interested in mass-culture, and who are therefore partially or totally connected with Pop/Mass-Culture Art. The book reproduces in colour and discusses in great detail over 150 of the key works of the Pop/Mass-Culture Art tradition. Often this involves the close reading of images whose meaning has largely escaped understanding previously. The result is a book that qualitatively is fully on a level with Eric Shanes’s other best-selling and award-winning writings.
Though enjoying the pose of a canny peasant, he was, in fact, a sophisticated artist who distilled a multitude of sources into his highly complex work."--BOOK COVER.
Though enjoying the pose of a canny peasant, he was, in fact, a sophisticated artist who distilled a multitude of sources into his highly complex work."--BOOK COVER.
At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.
This book offers a radically new perspective on the Pop Art creative dynamic that has been around since the 1950s. The book discusses the major contributors to the Pop/Mass-Culture Art tradition right up to the present, including a number of artists who have never previously been associated with so-called Pop Art but whose work showed a strong interest in mass-culture. The book reproduces, in colour and in great detail, over 150 of the key works of the Pop/Mass-Culture Art tradition, allowing the reader to have a closer look and better understanding of these images.
J.M.W. Turner is without a doubt the greatest painter of landscapes and seascapes of all time. His production was prodigious: some 550 oil paintings, more than 2,000 extremely detailed and refined watercolours and nearly 20,000 studies, sketches and watercolour sketches. He excelled in all forms of painting: landscapes or seascapes, elaborate historical representations or classical scenes, miniature and watercolours of scenes of daily life on land and on sea, destined to be reproduced in engravings. The ensemble of Turner’s artwork evokes a particularly rich and dramatic sensibility, an interest for the complexities of life, an unequalled approach of the size and scale of nature, and a profound curiosity to discover what is under the surface – that which the painter calls the intrinsic “qualities and causes” of things. This curiosity leads Turner to explore the universal principles of architecture – whether it is born from nature or by man’s hand −, of light, of meteorology as well as of the dynamic of waves. He was a talented and extremely sophisticated colourist, becoming one of the best in European painting, and without a doubt the most skilled painter in conveying subtleties and nuances. His works, particularly his last works, reflect his projection of an ideal world of colours, forms and impressions.
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