Libros de Arte contemporáneo, página 34 de 166

This impressive tome offers more than 700 illustrations to document the comprehensive restoration campaign, (the first of its kind) of this magnificant interior.

Today serial imagery dominates all forms of visual media, from advertising to conceptual sculpture. In this innovative project, the authors show that the phenomenon of repetition appears as a radical element in early modern painting, long before its embrace by 20th-century high modernism. In works by Ingres, Delaroche, Gerome, Corot, Millet, Monet, Cezanne, Degas, and Matisse, the reader can compare closely related versions of some of the most familiar imagery of the 19th and early 20th centuries. By making multiples of closely related subject matter in their paintings, the authors argue, these painters challenged an aesthetic based on the notion of an inimitable, unique masterpiece. Through beautiful illustrations and essays by leading scholars, this book ultimately shows how the 19th-century invention of photography and filmwith their intrinsic attributes of repetitiondid not diminish the traditional medium of painting but rather propelled it in new directions. Eik Kahng is curator of 18th- and 19th-century art at the Walters Art Museum. Stephen Bann is professor of the history of art at the University of Bristol. Simon Kelly is associate curator of European painting and sculpture at the Nelson-Atkins Museum, Kansas City. Richard Shiff is Chair in Art and directs the Center for the Study of Modernism at the University of Texas, Austin. Charles F. Stuckey is a specialist in Impressionist and modern art. Jeffrey Weiss is director of the Dia Art Foundation.

Gominolas y azúcar reúne dos proyectos aretísticos de Filippos Tsitsopoulos (1967) Janni Markopoulos (1962) que se desarrollaron en el Círculo de Bellas artes en 2007 y 2007.

En ese idioma mudo, la obra se dirá en silencio. Su auténtico "decir", su verdad en pintura, se enunciará como eficacia para sobrepasar cualquier lectura, para exceder cualquier aparente plenitud del sentido, como exigencia que forzará el reconocimiento de su ilegibilidad radical. Toda interpretación de la obra se abocará así a un trabajo interminable, pues su naturaleza pertenece a ese orden de la escritura que resiste a la tentación de someter la producción del sentido a los regímenes de cualquier economía estable. Sólo en tanto esta resistencia cobrará cuerpomaterialidad absoluta y muda oiríamos hablar a la verdad de la obra. "Noli me legere", podría ser entonces su divisa.

Picasso arrived in Barcelona in 1895, just before the age of fourteen, and he lived there until 1904, when he moved to Paris. During this decisive period in his artistic life, the painter produced a series of landscapes of the Barcelona of his beginnings: The Landscapes of Picasso''s Barcelona.Today, more than one hundred years after their creation, these landscapes by Picasso are an essential fragment of the historical, artistic and cultural mosaic of the Barcelona of the turn of the century. In these landscapes we can watch Picasso''s development in the years that go from learning the painter''s trade to his links with the Catalan artistic avant-garde and the formation of his first personal style: the Blue Period. We see how Picasso, in short, became one of the twentieth century''s most outstanding artists. In this book, Picasso''s works are accompanied by some very special photographs, pictures centred around Picasso: landscapes and scenes the same as or similar to the ones painted and drawn by the artist, photographed at more or less the same time Picasso was working, so that we get a close-up view of the Barcelona that inspired his painting.We shall let Picasso take us by the hand and lead us through his Barcelonassome still exist, others have given way to progress; some are unusual, others everyday; some are at street level, others raised on high skylines... we shall take a walk full of surprises through past and present in The landscapes of Picasso''s Barcelona.

Picasso arriba a Barcelona el 1895, a punt de fer catorze anys, i s’hi estableix fins el 1904, moment en què s’instal·la a París. En aquest període decisiu de la seva vida artística, el pintor crea u

Antológica 1959-2007. Museo Nacional Centro de Arte Reina Sofía. Madrid, 19 de junio - 15 de octubre 2007. Kunstmuseum Bonn. Bonn, 12 de marzo - 25 de mayo 2008.

El CAC Málaga, Centro de Arte Contemporáneo del Ayuntamiento de Málaga, inaugura la primera exposición individual en un museo o centro de arte del país de la artista alemana Anne Berning. La temática de esta exposicion gira en torno al mundo de la pintura y a la estereotipada clasificacion que los libros y catalogos de arte hacen de el. Para expresarlo, ha utilizado lomos de libros simulados de gran tamaño, en donde los artistas aparecen representados siguiendo el estilo pictorico al que pertenecen. La exposicion, que podra visitarse hasta el proximo 19 de agosto, esta compuesta por una instalacion site specific y otro conjunto de pinturas que inciden sobre el mismo concepto.

Il volume e il catalogo della mostra di Padova (Palazzo Zabarella, 27 settembre 2003 - 8 febbraio 2004). Il periodo preso in considerazione da Fernando Mazzocca, storico dell''arte alla Statale di Milano, e Carlo Sisi, direttore della Galleria d''arte moderna di Palazzo Pitti, va dal 1848, anno della prima guerra di indipendenza, al 1870, anno in cui Roma viene ricongiunta all''Italia unita. Un''epoca ricca di speranze, e ancor piu di fermenti, di voglia di nuovo, di necessita di rompere con l''autorita della tradizione. Di questo clima i Macchiaioli furono i protagonisti e di esso seppero dare un''altissima testimonianza nella loro pittura.