Twentieth-century Italian Art
Author | : Museum of Modern Art (New York, N.Y.) |
Publisher | : |
Total Pages | : 166 |
Release | : 1949 |
Genre | : Art, Italian |
ISBN | : |
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Author | : Museum of Modern Art (New York, N.Y.) |
Publisher | : |
Total Pages | : 166 |
Release | : 1949 |
Genre | : Art, Italian |
ISBN | : |
Author | : Alberto Asor Rosa |
Publisher | : Prestel Publishing |
Total Pages | : 478 |
Release | : 1989 |
Genre | : Art |
ISBN | : |
Third volume to appear in conjunction with series of exhibitions of twentieth century art organised by the Royal Academy of Arts, London.
Author | : James Thrall Soby |
Publisher | : Arno Press |
Total Pages | : 170 |
Release | : 1972 |
Genre | : Art |
ISBN | : |
Author | : Ralph Jentsch |
Publisher | : Allemandi |
Total Pages | : 346 |
Release | : 1992 |
Genre | : Art |
ISBN | : |
Author | : Anthony White |
Publisher | : Routledge |
Total Pages | : 263 |
Release | : 2019-07-30 |
Genre | : Art |
ISBN | : 0429515448 |
This book examines the work of several modern artists, including Fortunato Depero, Scipione, and Mario Radice, who were working in Italy during the time of Benito Mussolini’s rise and fall. It provides a new history of the relationship between modern art and fascism. The study begins from the premise that Italian artists belonging to avant-garde art movements, such as futurism, expressionism, and abstraction, could produce works that were perfectly amenable to the ideologies of Mussolini’s regime. A particular focus of the book is the precise relationship between ideas of history and modernity encountered in the art and politics of the time and how compatible these truly were.
Author | : James Thrall Soby |
Publisher | : |
Total Pages | : 144 |
Release | : 1949 |
Genre | : |
ISBN | : |
Author | : Raffaele Bedarida |
Publisher | : Taylor & Francis |
Total Pages | : 320 |
Release | : 2022-06-28 |
Genre | : Art |
ISBN | : 1000595803 |
This volume explores how Italian institutions, dealers, critics, and artists constructed a modern national identity for Italy by exporting – literally and figuratively – contemporary art to the United States in key moments between 1929 and 1969. From artist Fortunato Depero opening his Futurist House in New York City to critic Germano Celant launching Arte Povera in the United States, Raffaele Bedarida examines the thick web of individuals and cultural environments beyond the two more canonical movements that shaped this project. By interrogating standard narratives of Italian Fascist propaganda on the one hand and American Cold War imperialism on the other, this book establishes a more nuanced transnational approach. The central thesis is that, beyond the immediate aims of political propaganda and conquering a new market for Italian art, these art exhibitions, publications, and the critical discourse aimed at American audiences all reflected back on their makers: they forced and helped Italians define their own modernity in relation to the world’s new dominant cultural and economic power. The book will be of interest to scholars working in art history, social history, exhibition history, and Italian studies.
Author | : Achille Bonito Oliva |
Publisher | : Mondadori Electa |
Total Pages | : 324 |
Release | : 1999 |
Genre | : Art |
ISBN | : |
Author | : Sandra Pinto |
Publisher | : Skira |
Total Pages | : 180 |
Release | : 2002 |
Genre | : Art |
ISBN | : |
"This volume traces a panorama, one never before observed, of the last century of Italian art within a 'global' framework, choosing that is, the most distanced and wide-ranging perspective in order to be the most all-inclusive outside Italy and Europe. Furthermore, the historical line followed is also one of the first for Italian art to take account of the postmodern revolution and to follow every step of the alternating supremacies of modernity and antimodernity in the artistic research from 1900 to 2000." - book jakcet.
Author | : Professor Erin J Campbell |
Publisher | : Ashgate Publishing, Ltd. |
Total Pages | : 201 |
Release | : 2015-07-28 |
Genre | : Art |
ISBN | : 147244213X |
Drawing on a wide range of visual and historical sources, this study examines the remarkable flowering, largely overlooked in portraiture scholarship, of portraits of old women in Northern Italy and especially Bologna during the second half of the sixteenth century. Erin Campbell argues that these images of unidentified women provide an opportunity to present new conceptual frameworks, and question our assumptions about old age, portraiture, and the domestic interior.