A Dictionary of Modern and Contemporary Art (2nd Edition) by Ian Chilvers, John Glaves-Smith

By Ian Chilvers, John Glaves-Smith

Filenote: PDF retail from EBL. Publisher/EBL seem to have created it by way of taking their great epub and switched over to PDF + pagination instead of the common appealing PDF imprint.
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Formerly the Dictionary of twentieth Century artwork, the textual content has been thoroughly revised and up-to-date for this significant new version. Over three hundred entries were additional and it now comprises entries on images in smooth paintings in addition to the recent media equivalent to deploy and function that are one of these an important section of the modern scene.

With emphasis on fresh paintings and artists, for instance Ai Weiwei, Tracey Emin, and Damien Hirst, it has a really robust insurance of paintings from the Sixties onwards, which makes it perfect for modern paintings lovers. extra studying is supplied at access point to aid these wishing to grasp extra a couple of specific topic. additionally, this version good points advised internet hyperlinks for plenty of entries, that are accessed and saved brand new through the Dictionary of contemporary and modern artwork spouse site.

The ideal better half for the table, studio, bedside desk, or gallery visits, A Dictionary of contemporary and modern Art is a vital A-Z reference paintings for artwork scholars, artists, and paintings fanatics.

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Adami, Valerio (1935– ) Italian painter and graphic artist, his country’s leading exponent of *Pop art and one of the few non-American or non-British artists to achieve international success in the field. He was born in Bologna and from 1953 to 1957 studied at the Brera in Milan, the city that has been the main centre of his activities (in 1961–2 he worked in London and in 1962–4 in Paris). Initially he painted abstracts, but in the 1960s he turned to figuration. Characteristically his pictures resemble frames from comic strips, with firm outlines and flat colours.

Therefore the organization of an international tour for ‘The New American Painting’ in 1958 to 1959, by the International Programme of the New York *Museum of Modern Art, had a decided political dimension. Alfred H Barr’s catalogue introduction said that the artists ‘defiantly reject the conventional values of the society which surrounds them but they are not politically engagés’. In fact the personal political allegiances of the Abstract Expressionists varied enormously: the group included an anarchist (Newman) and a right-wing supporter of Senator McCarthy (Still), while the one-time Trotskyite Clement Greenberg described, with a measure of regret, Jackson Pollock as a ‘god dam Stalinist’.

Its successor, the *Abstraction-Création association, founded in 1931, brought together a large number of abstract artists of 32 various types and provided a focus for their activities. In general, however, figurative art was dominant in the interwar period and abstract art won little public acceptance. It was very much a minority taste in Britain and the USA, for example, in spite of such outstanding individual contributions as the sculptures of Alexander *Calder and Barbara *Hepworth, and the efforts of groups such as *Unit One (founded in 1933) and *American Abstract Artists (founded in 1936).

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