Dalí

Parkstone International
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Salvador Dalí (1904-1989) is best known for his unique and striking style with an extraordinary repertoire reaching out across film, painting, photography, and sculpture. Whilst his name may be most commonly associated with Surrealism, Dalí consummately displayed mastery over such broad genres as classical, modernist, and Cubist styles. A crucial figure in art history, Dalí has inspired countless literary works and this edifying Best Of volume gives readers a fascinating insight into the life and career highlights of one of art’s most controversial and exciting pioneers.
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Eric Shanes is himself a painter and a renowned art historian. Amongst his many articles on twentieth-century art are best-selling books on Constantin Brancusi and David Hockney. He is also a leading authority on J M W Turner on whom he has written nine best-selling books and catalogues. He is currently the Chairman of the Turner Society. He is much in demand all over Britain and the United States as a lecturer on art.

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Editor
Parkstone International
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Fecha de publicación
12 jun. 2014
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Páginas
200
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ISBN
9781783100873
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Dispositivos admitidos
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Idioma
inglés
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Géneros
Arte / Europa
Arte / General
Arte / Historia / Edad Moderna (finales del siglo XIX hasta 1945)
Arte / Artistas / Monografías
Arte / Técnicas / Pintura
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Este contenido está protegido por DRM.
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At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.
NEW YORK TIMES BESTSELLER

Steven Naifeh and Gregory White Smith galvanized readers with their astonishing Jackson Pollock: An American Saga, winner of the Pulitzer Prize for biography, a book acclaimed for its miraculous research and overwhelming narrative power. Now Naifeh and Smith have written another tour de force—an exquisitely detailed, compellingly readable, and ultimately heartbreaking portrait of creative genius Vincent van Gogh.

Working with the full cooperation of the Van Gogh Museum in Amsterdam, Naifeh and Smith have accessed a wealth of previously untapped materials. While drawing liberally from the artist’s famously eloquent letters, they have also delved into hundreds of unpublished family correspondences, illuminating with poignancy the wanderings of Van Gogh’s troubled, restless soul. Naifeh and Smith bring a crucial understanding to the larger-than-life mythology of this great artist—his early struggles to find his place in the world; his intense relationship with his brother Theo; his impetus for turning to brush and canvas; and his move to Provence, where in a brief burst of incandescent productivity he painted some of the best-loved works in Western art.

The authors also shed new light on many unexplored aspects of Van Gogh’s inner world: his deep immersion in literature and art; his erratic and tumultuous romantic life; and his bouts of depression and mental illness.

Though countless books have been written about Van Gogh, and though the broad outlines of his tragedy have long inhabited popular culture, no serious, ambitious examination of his life has been attempted in more than seventy years. Naifeh and Smith have re-created Van Gogh’s life with an astounding vividness and psychological acuity that bring a completely new and sympathetic understanding to this unique artistic genius whose signature images of sunflowers and starry nights have won a permanent place in the human imagination.

Praise for Van Gogh

“The definitive biography for decades to come.”—Leo Jansen, curator, the Van Gogh Museum, and co-editor of Vincent van Gogh: The Complete Letters

“In their magisterial new biography, Van Gogh: The Life, Steven Naifeh and Gregory White Smith provide a guided tour through the personal world and work of that Dutch painter, shining a bright light on the evolution of his art. . . . What [the authors] capture so powerfully is Van Gogh’s extraordinary will to learn, to persevere against the odds.”—Michiko Kakutani, The New York Times
At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.
Whistler saltó repentinamente a la fama, como una estrella errante en un momento crucial en la historia del arte, un campo en el que fue pionero. Como los impresionistas a los que admiraba, deseaba imponer sus propias ideas. La obra de Whistler puede dividirse en cuatro periodos. El primero puede llamarse periodo de investigación, en el cual recibió la influencia del realismo de Gustave Courbet y del arte japonés. Después, Whistler descubrió su propia originalidad en la serie de Nocturnos y de los Jardines de Cremorne, con las que entró en conflicto con los academicistas, que querían que un trabajo artístico contara una historia. Cuando pintó el retrato de su madre, Whistler lo tituló Composición en gris y negro y fue una obra simbólica de sus teorías estéticas. Cuando pintó Los jardines del placer de Cremorne no lo hizo para representar figuras identificables, como hizo Renoir cuando tocó temas similares, sino para capturar la atmósfera. Adoraba la bruma que flotaba sobre las orillas del Támesis, la luz pálida y las chimeneas de las fábricas que por las noches se convertían en mágicos minaretes. La noche redibujaba el paisaje, borrando los detalles. Este fue el periodo en el que se convirtió en un aventurero del arte; su obra, que rayaba en la abstracción, escandalizó a sus contemporáneos. El tercer periodo está dominado por los retratos de cuerpo completo, que le dieron fama. Era capaz de imbuir una profunda originalidad a este género tradicional. Trató de capturar una parte del alma de sus modelos y colocó a sus personajes en su entorno natural. Esto daba a sus modelos una extraña presencia, de modo que parecen a punto de levantarse y salirse del cuadro para enfrentar al observador. Al extraer la esencia poética de las personas, creó retratos que sus contemporáneos describían como “medios”, y que fueron la inspiración para que Oscar Wilde escribiera El retrato de Dorian Gray. Hacia el final de su vida, el artista comenzó a pintar paisajes y retratos en la tradición clásica, con una fuerte influencia de Velázquez. Whistler demostró ser sumamente riguroso en cuanto a que sus pinturas coincidieran con sus teorías. Jamás titubeó en batirse con los más famosos teóricos del arte de su día. Su personalidad, sus arrebatos y su elegancia fueron el foco perfecto para la curiosidad y la admiración. Fue amigo cercano de Stéphane Mallarmé y fue admirado por Marcel Proust, quien le rindió homenaje en su libro En busca del tiempo perdido. También fue un caballero provocativo, una figura quisquillosa de sociedad, artista exigente y osado innovador.
At fifteen, Turner was already exhibiting View of Lambeth. He soon acquired the reputation of an immensely clever watercolourist. A disciple of Girtin and Cozens, he showed in his choice and presentation of theme a picturesque imagination which seemed to mark him out for a brilliant career as an illustrator. He travelled, first in his native land and then on several occasions in France, the Rhine Valley, Switzerland and Italy. He soon began to look beyond illustration. However, even in works in which we are tempted to see only picturesque imagination, there appears his dominant and guiding ideal of lyric landscape. His choice of a single master from the past is an eloquent witness for he studied profoundly such canvases of Claude as he could find in England, copying and imitating them with a marvellous degree of perfection. His cult for the great painter never failed. He desired his Sun Rising through Vapour and Dido Building Carthage to be placed in the National Gallery side by side with two of Claude’s masterpieces. And, there, we may still see them and judge how legitimate was this proud and splendid homage. It was only in 1819 that Turner went to Italy, to go again in 1829 and 1840. Certainly Turner experienced emotions and found subjects for reverie which he later translated in terms of his own genius into symphonies of light and colour. Ardour is tempered with melancholy, as shadow strives with light. Melancholy, even as it appears in the enigmatic and profound creation of Albrecht Dürer, finds no home in Turner’s protean fairyland – what place could it have in a cosmic dream? Humanity does not appear there, except perhaps as stage characters at whom we hardly glance. Turner’s pictures fascinate us and yet we think of nothing precise, nothing human, only unforgettable colours and phantoms that lay hold on our imaginations. Humanity really only inspires him when linked with the idea of death – a strange death, more a lyrical dissolution – like the finale of an opera.
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