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  1. Matisse's sculpture
    the pinup and the primitive
    Erschienen: 2014
    Verlag:  Yale University Press, New Haven, Conn. [u.a.]

    "In 1906, soon after Matisse acquired his first African sculpture, he began the first of his nudes based on erotic and ethnographic photographs. This reading of Matisse's early sculpture examines the artist's appropriations from two seemingly... mehr

    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
    ::8:2014:6579:
    keine Fernleihe
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
    1 B 163664
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Universitätsbibliothek Freiburg
    TX 2014/556
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Universitätsbibliothek Heidelberg
    2014 D 2022
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Staatliche Kunsthalle, Bibliothek
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Universität Stuttgart, Institut für Kunstgeschichte, Bibliothek
    R Mat 355/40
    keine Ausleihe von Bänden, nur Papierkopien werden versandt
    Württembergische Landesbibliothek
    64a/2438
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Herzog August Bibliothek Wolfenbüttel
    64.4° 478
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    "In 1906, soon after Matisse acquired his first African sculpture, he began the first of his nudes based on erotic and ethnographic photographs. This reading of Matisse's early sculpture examines the artist's appropriations from two seemingly disparate visions of the body: commercial nude photography and African sculpture. Why would Matisse synthesize mechanically made traces of actual flesh with the hand-carved abstractions of Pende, Senufo, Baga, and Baule figural sculptures? In the twentieth century, halftone technology in France changed economics of photographic reproduction. The inexpensive illustrated revues where Matisse found substitutes for living models were full of plates, making the female body available for mass consumption as never before. One of the main appeals of African sculpture to Matisse and others was that it appeared as a productive antithesis to this; it represented an alternative experience and understanding of human sexuality. In this, Matisse's primitivism was as much a system of beliefs projected onto African sculptures and actual African bodies, as a series of visual and conceptual borrowings from them. To support this idea, the book uses primary materials from turn-of-the-century ethnography and comparative anthropology, popular erotica, and the visual culture of French colonialism. It draws connections between artistic debts and the ideological and historical forces informing them, and plots new study in a now-familiar story of early twentieth-century modernist primitivism. This book challenges an established convention about Matisse--a painter who sculpted merely as a "rest"-- proposing how the sculpture's play with period perceptions of race and gender is key to understanding the artist's fascinations with cultural and sexual origins"--

     

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    Hinweise zum Inhalt
    Quelle: Herzog August Bibliothek Wolfenbüttel
    Beteiligt: Matisse, Henri (Ill.)
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9780300171037
    Weitere Identifier:
    9780300171037
    Schlagworte: Female nude in art; Photography, Erotic; Sculpture, African; ART; ART; ART; ART; Female nude in art; Individual Artists; Sculpture & Installation; Monographs; Subjects & Themes; Subjects & Themes; Photography, Erotic; Erotica; Human Figure; Sculpture, African
    Weitere Schlagworte: Matisse, Henri (1869-1954); Matisse, Henri
    Umfang: XVI, 228 S., zahlr. Ill., 29 cm
    Bemerkung(en):

    Includes bibliographical references (pages 218-222) and index