A Selection Post-war British Abstract Art
Author | : Margaret Garalke |
Publisher | : |
Total Pages | : 0 |
Release | : 1958 |
Genre | : |
ISBN | : |
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Author | : Margaret Garalke |
Publisher | : |
Total Pages | : 0 |
Release | : 1958 |
Genre | : |
ISBN | : |
Author | : Austin/Desmond Fine Art (Gallery) |
Publisher | : |
Total Pages | : 48 |
Release | : 1982 |
Genre | : Art, Abstract |
ISBN | : |
Author | : |
Publisher | : |
Total Pages | : 44 |
Release | : 1988 |
Genre | : Art, Abstract |
ISBN | : |
Author | : Courtauld Institute of Art |
Publisher | : Routledge |
Total Pages | : 218 |
Release | : 2017-09-14 |
Genre | : |
ISBN | : 9781138722842 |
This title was first published in 2001. An examination of art and patronage in Britain during the post-war years. It consists of five case studies, initially written as MA theses, that closely investigate aspects of the mechanisms of patronage outside the state institutions, while indicating structural links within it. The writers have sought to elucidate the relationship between patronage, the production of art and its dissemination. Without seeking to provide an inclusive account of patronage or art production in the early post-war years, their disparate and highly selective papers set up models for the structure of patronage under specific historical conditions. They assume an understanding that works of art are embedded in their social contexts, are products of the conditions under which they were produced, and that these contexts and conditions are complex, fluid and imbricated in one another.
Author | : |
Publisher | : |
Total Pages | : 44 |
Release | : 1990 |
Genre | : Art, Abstract |
ISBN | : |
Author | : Gregory Salter (Art historian) |
Publisher | : Taylor & Francis |
Total Pages | : 304 |
Release | : 2019 |
Genre | : Art, British |
ISBN | : 1350052744 |
Author | : Alastair Ian Grieve |
Publisher | : Paul Mellon Ctr for Studies |
Total Pages | : 287 |
Release | : 2005 |
Genre | : Art |
ISBN | : 9780300107036 |
Much admired as a realist painter, English artist Victor Pasmore surprised the art world in 1948 by suddenly directing his efforts toward the making of constructed abstract art. Pasmore was followed by Kenneth and Mary Martin, Adrian Heath, and the sculptor Robert Adams, and the group was later joined by John Ernest and Gillian Wise. This book follows the development of this major avant garde group and explores why they have received so little attention until now. Alastair Grieve draws on personal discussions with these artists over many years and on extensive archival materials, including ephemeral catalogues which are difficult to find today. He offers much new information about the group and their theories, the Continental roots of their constructed abstract art, and their links with such contemporaries as American relief artist Charles Biederman and English constructivist Stephen Gilbert. The book features over 300 illustrations, many in color, and a full chronology and bibliography.
Author | : |
Publisher | : |
Total Pages | : 0 |
Release | : 1961 |
Genre | : |
ISBN | : |
Author | : |
Publisher | : |
Total Pages | : 62 |
Release | : 2006 |
Genre | : |
ISBN | : |
Author | : Courtauld Institute of Art |
Publisher | : Routledge |
Total Pages | : 219 |
Release | : 2017-11-01 |
Genre | : Art |
ISBN | : 135176313X |
This title was first published in 2001. An examination of art and patronage in Britain during the post-war years. It consists of five case studies, initially written as MA theses, that closely investigate aspects of the mechanisms of patronage outside the state institutions, while indicating structural links within it. The writers have sought to elucidate the relationship between patronage, the production of art and its dissemination. Without seeking to provide an inclusive account of patronage or art production in the early post-war years, their disparate and highly selective papers set up models for the structure of patronage under specific historical conditions. They assume an understanding that works of art are embedded in their social contexts, are products of the conditions under which they were produced, and that these contexts and conditions are complex, fluid and imbricated in one another.