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Download PDF by Christos M. Joachimides, David Anfam, Norman Rosenthal: American Art in the 20th Century - Painting and Sculpture,

By Christos M. Joachimides, David Anfam, Norman Rosenthal

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Ations of lanilscape ithin city scenes (Marin, Walko- still-lifes in a 'syiubciic' (Cubist man- Abiiiham A. Dmicbon 4^ Fi?. 7 Max Weber, Chinese Restaurant, 1915. \rt. New York WTiitnev ner (Hartley) and non-objective configurations evoking landscapes (O'Keeffe), music in general (Dove, O'Keeffe) or specific musical compositions (Dove; see Cat. Stieglitz, in the the throbbing nature. main, favoured work which was activit}- What was of the cit\' lyrical, as well as to the fecundit}' not tolerated were the strictiy 34).

Alfred 268. Stieglitz-: A Collective Pottrait, NT, 1934, pp. 126-7. , p. 137. Cit\-, 11. p. American Place', in Waldo D. ^rmon- Show and dependence on Cezanne and declaring that balance of forms around a center as sculpture', a Modernism Early 41 and depth - not 'light is projection a Le\in and others have Russell, as Gail shown,' was by 19 12 basing his painting on sculptures, specifically on plaster casts of Michelangelo's Pietas and Slaves, which he broke up into a series of flattened, making the sources abstracted areas, virtually unrecognizable (see Fig.

American writers, painters and photographers left their educational and publishing institutions and bohemian 'villages' to travel west and south. The greatest works of the 1930s are those that evoke the economic and social the polic}' of the Popular Front decade while respecting the differences disasters of the among those written about, painted or photographed. In the narrative and photographs that constitute a book like James Agee and W^alker Evans's Let Us Now Praise Famous Men (1941) there is also a painful acknow ledgment of the differences between the observing artists and the observed share-crop farmers (see Figs.

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American Art in the 20th Century - Painting and Sculpture, 1913-1993 by Christos M. Joachimides, David Anfam, Norman Rosenthal


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