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Demonstrates the importance of America as the defining element in American art.
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Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 308
- Erscheinungstermin: 7. März 2008
- Englisch
- Abmessung: 229mm x 152mm x 18mm
- Gewicht: 503g
- ISBN-13: 9780521776011
- ISBN-10: 0521776015
- Artikelnr.: 22092195
- Verlag: Cambridge University Press
- Seitenzahl: 308
- Erscheinungstermin: 7. März 2008
- Englisch
- Abmessung: 229mm x 152mm x 18mm
- Gewicht: 503g
- ISBN-13: 9780521776011
- ISBN-10: 0521776015
- Artikelnr.: 22092195
1. Walt Whitman and early twentieth-century American art
2. American landscape painting and national identity: the Stieglitz circle and Emerson
3. The silent witness of Edward Hopper
4. American art and national identity: the 1920s
5. The beginnings of 'The American Wave' and the Depression
6. Grant Wood revisited
7. The relevancy of Curry's paintings of black freedom
8. Thomas Hart Benton and the Left
9. The Emersonian presence in abstract expressionism
10. American art around 1960 and the loss of self
11. Pearlstein's people
12. Robert Morris's latest works: slouching toward Armageddon
13. A ramble around early earthworks
14. Reflections on/of Richard Estes
15. Ben Shahn's Post-War Jewish paintings
16. Barnett Newman's stripe paintings and Kaballah: a Jewish take
17: Postscript: another kind of canon.
2. American landscape painting and national identity: the Stieglitz circle and Emerson
3. The silent witness of Edward Hopper
4. American art and national identity: the 1920s
5. The beginnings of 'The American Wave' and the Depression
6. Grant Wood revisited
7. The relevancy of Curry's paintings of black freedom
8. Thomas Hart Benton and the Left
9. The Emersonian presence in abstract expressionism
10. American art around 1960 and the loss of self
11. Pearlstein's people
12. Robert Morris's latest works: slouching toward Armageddon
13. A ramble around early earthworks
14. Reflections on/of Richard Estes
15. Ben Shahn's Post-War Jewish paintings
16. Barnett Newman's stripe paintings and Kaballah: a Jewish take
17: Postscript: another kind of canon.
1. Walt Whitman and early twentieth-century American art
2. American landscape painting and national identity: the Stieglitz circle and Emerson
3. The silent witness of Edward Hopper
4. American art and national identity: the 1920s
5. The beginnings of 'The American Wave' and the Depression
6. Grant Wood revisited
7. The relevancy of Curry's paintings of black freedom
8. Thomas Hart Benton and the Left
9. The Emersonian presence in abstract expressionism
10. American art around 1960 and the loss of self
11. Pearlstein's people
12. Robert Morris's latest works: slouching toward Armageddon
13. A ramble around early earthworks
14. Reflections on/of Richard Estes
15. Ben Shahn's Post-War Jewish paintings
16. Barnett Newman's stripe paintings and Kaballah: a Jewish take
17: Postscript: another kind of canon.
2. American landscape painting and national identity: the Stieglitz circle and Emerson
3. The silent witness of Edward Hopper
4. American art and national identity: the 1920s
5. The beginnings of 'The American Wave' and the Depression
6. Grant Wood revisited
7. The relevancy of Curry's paintings of black freedom
8. Thomas Hart Benton and the Left
9. The Emersonian presence in abstract expressionism
10. American art around 1960 and the loss of self
11. Pearlstein's people
12. Robert Morris's latest works: slouching toward Armageddon
13. A ramble around early earthworks
14. Reflections on/of Richard Estes
15. Ben Shahn's Post-War Jewish paintings
16. Barnett Newman's stripe paintings and Kaballah: a Jewish take
17: Postscript: another kind of canon.