What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art

What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art

Will Gompertz

Language: English

Pages: 464

ISBN: 0142180297

Format: PDF / Kindle (mobi) / ePub


In the tradition of Eats, Shoots & Leaves, art history with a sense of humor

Every year, millions of museum and gallery visitors ponder the modern art on display and secretly ask themselves, "Is this art?" A former director at London's Tate Gallery and now the BBC arts editor, Will Gompertz made it his mission to bring modern art's exciting history alive for everyone, explaining why an unmade bed or a pickled shark can be art—and why a five-year-old couldn't really do it. Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

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Impressionist Painting for the Landscape: Secrets for Successful Oil Painting

Art and Agency: An Anthropological Theory

Vested Interests: Cross-Dressing and Cultural Anxiety

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

interest in the subject. And never before have there been so many places to go and see the stuff. Fabulous new museums and galleries have been built across the world. The Guggenheim in Bilbao, Tate Modern in London and the Maxxi in Rome have all been created since 1997. We are living through a global modern art boom, the like of which has not been seen before. To gloss over all that just because there is no recognized term for the work produced lately would be a pity. It would also leave this

Moholy-Nagy, László 211, 212, 213, 219 Telephone Picture EM1 213 MoMA see Museum of Modern Art Mona Lisa (Leonardo da Vinci) 232 Mondrian, Piet 71, 89, 188–94, 219, 241, 266, 277 artwork values 385 Composition 6 193 Composition C (No. III), with Red, Yellow and Blue 190–91 Composition No. 1 197 Composition with Red, Black, Blue and Yellow 197 Cubist influence 191, 192 De Stijl movement see De Stijl Evening, Red Tree 192 Flowering Apple Tree 192–3 The Grey Tree 192 grid works 71,

forty-year career, in which similar objects have been arranged in a comparable way and depicted by the artist in his dual perspective style (or painting “with both eyes” as Hockney put it). In this particular picture he has placed several apples and peaches on the right-hand side of a small wooden table. Some have been stacked into a pyramidal structure on a plate, while others—positioned nearer the table’s outer edge—are loose. An empty blue, yellow and white vase sits at the back of the table,

what would appear to be a bourgeois Parisian apartment, with a richly colored curtain pulled aside to reveal window boxes full of plants. Behind her, in the distance, are the fortifications of Paris, probably painted to mimic the background of Leonardo’s Mona Lisa (Rousseau had access as a copyist to the Louvre, where the Mona Lisa is hung). Rousseau’s woman holds a cutting from one of the pansies in her right hand, while her left hand rests on an upturned tree branch that supports her like a

craftsman. His was a welfare philosophy where people worked in humane, safe and respectful conditions and were paid a reasonable wage for their efforts. Morris believed in “arts for all,” the democratization of beauty and ideas: art made by the people for the people. It was a cry that would be repeated time and again throughout the twentieth century (and that continues today with the likes of the British artists Gilbert & George). Herr Muthesius had formulated his own take on the British Arts

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