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 through taking their great epub and switched over to PDF + pagination instead of the common attractive PDF imprint.

Formerly the Dictionary of twentieth Century paintings, the textual content has been thoroughly revised and up to date for this significant new version. Over three hundred entries were further and it now comprises entries on images in glossy artwork in addition to the hot media equivalent to install and function that are this kind of the most important component to the modern scene.

With emphasis on fresh paintings and artists, for instance Ai Weiwei, Tracey Emin, and Damien Hirst, it has an extremely powerful insurance of artwork from the Nineteen Sixties onwards, which makes it excellent for modern paintings fanatics. extra analyzing is equipped at access point to help these wishing to understand extra a few specific topic. furthermore, this variation good points urged internet hyperlinks for plenty of entries, that are accessed and stored modern through the Dictionary of recent and modern artwork significant other site.

The excellent significant other for the table, studio, bedside desk, or gallery visits, A Dictionary of contemporary and modern Art is an important A-Z reference paintings for paintings scholars, artists, and paintings fans.

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Additional info for A Dictionary of Modern and Contemporary Art (2nd Edition)

Sample text

Acrylic paint first became available to artists in the 1940s in the USA and certain American painters discovered that it offered them advantages over oils. Colour stain painters (see COLOUR FIELD PAINTING) such as Helen *Frankenthaler and Morris *Louis, for example, found that they could thin the paint so that it flowed over the canvas yet still retained its full brilliance of colour. David *Hockney took up acrylic during his first visit to Los Angeles in 1963; he had earlier tried and rejected the medium, but American-manufactured acrylic was at this time far superior to that available in Britain, and he felt that the flat, bold colours helped him to capture the strong Californian light.

From 1933 to 1949 he taught at *Black Mountain College, and from 1950 to 1959 he was head of the department of design at Yale University (the art gallery there has an outstanding collection of his work); he lectured at many other places and received numerous academic awards.

He was born at Tuszyn, near Łódź, and studied in Germany at the School of Arts and Crafts in Barmen (now part of Wuppertal), 1913–14. In about 1922 he settled in Düsseldorf, where he became a friend of Paul *Klee and painted several murals, including frescos for the Planetarium. He left Germany in 1933 because of the rise of Nazism and travelled widely in the next few years, living mainly in Paris, where he worked with *Hayter at Atelier 17. On the outbreak of war he joined the Polish army in France and in 1940 was evacuated to Britain, where he lived for the rest of his life, first in Scotland and then from 1943 in London.

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