Download Free Henri Rousseau And The Avant Garde Book in PDF and EPUB Free Download. You can read online Henri Rousseau And The Avant Garde and write the review.

"Henri Rousseau (1844-1910) was a self-taught artist with a unique style, exemplified in his visionary jungle scenes. These dream-like tableaux, for which he drew heavily on visits to Paris' Botanical Gardens, captivate with the lushness of their plant and animal life, while unsettling the viewer with their heady combination of exoticism and romanticism. This sumptuously illustrated book provides not only a comprehensive overview of Rousseau's career, but also penetrating insights into his inspiration. With large, color reproductions of his paintings, many previously unpublished illustrations of his sources and influences, and a wealth of new research on his life and work (including the only interview conducted with the artist), "Henri Rousseau: Jungles in Paris is poised to become the definitive volume on this remarkable painter."--BOOK JACKET.
Catalog of an exhibition held at the Museum Folkwang, October 2, 2015-January 10, 2016.
This carefully researched book reveals the truth behind the myths that have grown up around Rousseau, providing an ideal introduction to this most intriguing of artists.
Born into a family of tradespeople in a small city in France, Henri Rousseau became a customs and excise officer in the customs house in Paris in 1871, a job that earned him the nickname 'the customs officer'. Rousseau was an enthusiastic self-taught artist. Nourished by themes in the popular imagination, Rousseau's painting expresses a vision of reality, populated by iconic figures outlined with hieratic force against flat blocks of saturated color and fantastic spaces - a vision long branded as naive, ingenuous and uncultivated. This book demonstrates how fully Rousseau il Douanier's masterpieces are part of this archaic trend, and of the world of art in general, from his dream-like exotic landscapes to his still-lifes. They are shown alongside works signed by the likes of Picasso, Gaugain, Frida Kahlo, and Carlo Carrà. Contents: Reasons for an exhibition. Henri Rousseau and archaism; Is there an archaic trend in the history of art before Rousseau?; The eclectic sources of the customs officer's painting: the world of Henri Rousseau; Henri Rousseau and the collection of the art dealer Paul Guillaume; Henri Rousseau and his influence on the Parisian avant-garde circle; Henri Rousseau and Italian art; Henri Rousseau and the Blue Rider; Illustrated chronology of the life and work of Henri Rousseau, edited by Yann Le Pichon and Anthology of Henri Rousseau's writings, edited by Annabelle Mathias. Published to accompany an exhibition at Palazzo Ducale, Venice.
This volume explores the mutual influences between children's literature and the avant-garde. Olson places particular focus on fin-de-siècle Paris, where the Avant-garde was not unified in thought and there was room for modernism to overlap with children's literature and culture in the Golden Age. The ideas explored by artists such as Florence Upton, Henri Rousseau, Sir William Nicholson, Paula Modersohn-Becker, and Marc Chagall had been disseminated widely in cultural productions for children; their work, in turn, influenced children's culture. These artists turned to children's culture as a "new way of seeing," allied to a contemporary interest in international artistic styles. Children's culture also has strong ties to decadence and to the grotesque, the latter of which became a distinctively Modernist vision. This book visits the qualities of the era that were defined as uniquely childlike, the relation of childhood to high and low art, and the relation of children's literature to fin-de-siècle artistic trends. Topics of interest include the use of non-European figures (the Golliwogg), approaches to religion and pedagogy, to oppression and motherhood, to Nature in a post-Darwinian world, and to vision in art and life. Olson's unique focus covers new ground by concentrating not simply on children's literature, but on how childhood experiences and culture figure in art.
One of The Christian Science Monitor’s Best Nonfiction Books of 2018 “An engrossing read…a historically and psychologically rich account of the young Picasso and his coteries in Barcelona and Paris” (The Washington Post) and how he achieved his breakthrough and revolutionized modern art through his masterpiece, Les Demoiselles d’Avignon. In 1900, eighteen-year-old Pablo Picasso journeyed from Barcelona to Paris, the glittering capital of the art world. For the next several years he endured poverty and neglect before emerging as the leader of a bohemian band of painters, sculptors, and poets. Here he met his first true love and enjoyed his first taste of fame. Decades later Picasso would look back on these years as the happiest of his long life. Recognition came first from the avant-garde, then from daring collectors like Leo and Gertrude Stein. In 1907, Picasso began the vast, disturbing masterpiece known as Les Demoiselles d’Avignon. Inspired by the painting of Paul Cézanne and the inventions of African and tribal sculpture, Picasso created a work that captured the disorienting experience of modernity itself. The painting proved so shocking that even his friends assumed he’d gone mad, but over the months and years it exerted an ever greater fascination on the most advanced painters and sculptors, ultimately laying the foundation for the most innovative century in the history of art. In Picasso and the Painting That Shocked the World, Miles J. Unger “combines the personal story of Picasso’s early years in Paris—his friendships, his romances, his great ambition, his fears—with the larger story of modernism and the avant-garde” (The Christian Science Monitor). This is the story of an artistic genius with a singular creative gift. It is “riveting…This engrossing book chronicles with precision and enthusiasm a painting with lasting impact in today’s art world” (Publishers Weekly, starred review), all of it played out against the backdrop of the world’s most captivating city.
This groundbreaking examination of the cultural exchange between early 20th century French and German artists illuminates new ways of understanding the development of Expressionism. Although the Expressionist movement is widely considered to have arisen out of a German aesthetic, it was actually as much a result of German artists' exposure to artists living and working in France, such as van Gogh, Seurat, Gauguin, Cezanne, Matisse, Picasso, and Braque. In fact, in its early days, Expressionism was assigned no specific nationality at all. This fascinating book focuses on the key exhibitions, galleries, and museum directors that helped disseminate styles and techniques of revolutionary French artists throughout Germany. Included here are French masterpieces seen not only by German artists in Paris but also in important galleries, exhibitions, and private collections in Berlin, Dresden, Munich, Weimar, and other cities. More than 100 paintings and works on paper are grouped to encourage an understanding of artistic influence and interchange. The volume also reflects new scholarship on issues of French-German relations and contributes to our understanding of the ways the visual arts are influenced by ideas of national identity and cultural heritage."