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NEW Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction
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Ubicado en: New York, New York, Estados Unidos
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Entrega prevista entre el mar. 10 jun. y el lun. 16 jun. a 94104
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N.º de artículo de eBay:226534767590
Características del artículo
- Estado
- Harmonized System Code
- 97060000
- ISBN
- 9781633450035
Acerca de este producto
Product Identifiers
Publisher
Museum of Modern Art
ISBN-10
1633450031
ISBN-13
9781633450035
eBay Product ID (ePID)
219141575
Product Key Features
Book Title
Francis Picabia : Our Heads Are Round So Our Thoughts Can Change Direction
Number of Pages
368 Pages
Language
English
Topic
Individual Artists / General, Individual Artists / Monographs
Publication Year
2016
Illustrator
Yes
Genre
Art
Format
Hardcover
Dimensions
Item Height
1.4 in
Item Weight
84.7 Oz
Item Length
12.3 in
Item Width
10 in
Additional Product Features
Intended Audience
Trade
LCCN
2016-936806
Reviews
He made important contributions to both Cubist painting and its nemesis, Dada, with its art-barbed hijinks, and refused to cultivate a personal style that deepened with time. Instead he toyed with kitsch and calendar art, and based paintings on found photographs. When he returned to abstraction at the end of his life, he tried several styles. But lately -- when multiple mediums and styles are increasingly the artistic norm -- Picabia's stature has grown. His work seems more alive today than that of any artist of his cohort, even Duchamp., A leading light of the Dada movement...visually anticipating the Pop, Conceptual and Postmodern art movements, Picabia s fundamental comportment or attitude of refusal of ironic negation was the constant running through the early and late work, just as it was the constant running through his life...underneath this apparent indifference is the unmistakable echo of a reflexive negation, the constant assertion of a no resounding in a self-chosen void., Picabia's fundamental comportment or attitude of refusal--of ironic negation--was the constant running through the early and late work, just as it was the constant running through his life...underneath this apparent indifference is the unmistakable echo of a reflexive negation, the constant assertion of a "no" resounding in a self-chosen void., The restless career of one of the great provocateurs of early modernism finally gets its due from MoMA, healthfully perturbing that institution's emphasis on linear progress and creative genius with radically shifting styles and tones., The French avant-garde artist's work was prescient about our era of 'post-truth' politics and culture.... He specializes in disinformation and is the early Modernist embodiment of 'post-truth'., ...presents the full range of Picabia's practice--as a painter, a poet, a letter writer, a party planner, and (not least) an insatiable gadabout--but more than that, it definitively establishes him as one of the key artists of the past 100 years, a figure whose influence, at once comic and manic and dark, continues to reverberate., Picabia found the right container for his instincts. Those paintings make me deliriously happy; they sing. It's amazing they exist., ...presents the full range of Picabia s practice as a painter, a poet, a letter writer, a party planner, and (not least) an insatiable gadabout but more than that, it definitively establishes him as one of the key artists of the past 100 years, a figure whose influence, at once comic and manic and dark, continues to reverberate., Francis Picabia: abrupt changes, wild jumps, adventurous curves... finally, an endeavor aimed at revealing the whole Picabia., Picabia's fundamental comportment or attitude of refusal-of ironic negation-was the constant running through the early and late work, just as it was the constant running through his life...underneath this apparent indifference is the unmistakable echo of a reflexive negation, the constant assertion of a "no" resounding in a self-chosen void., ...presents the full range of Picabia's practice-as a painter, a poet, a letter writer, a party planner, and (not least) an insatiable gadabout-but more than that, it definitively establishes him as one of the key artists of the past 100 years, a figure whose influence, at once comic and manic and dark, continues to reverberate., He made important contributions to both Cubist painting and its nemesis, Dada, with its art-barbed hijinks, and refused to cultivate a personal style that deepened with time. Instead he toyed with kitsch and calendar art, and based paintings on found photographs. When he returned to abstraction at the end of his life, he tried several styles. But lately - when multiple mediums and styles are increasingly the artistic norm - Picabia's stature has grown. His work seems more alive today than that of any artist of his cohort, even Duchamp., Experimenting first with Impressionism, then Pointillism, and then Cubism and Dada, Francis Picabia (1879 1953) made himself impossible to categorize., Francis Picabia: abrupt changes, wild jumps, adventurous curves& finally, an endeavor aimed at revealing the whole Picabia., The pluralist of pluralists produced some masterpieces and more unbelievably ugly paintings than any other artist in the twentieth century - besting even Sigmar Polke and Martin Kippenberger - and I cannot stop myself from loving them all., A leading light of the Dada movement... visually anticipating the Pop, Conceptual and Postmodern art movements, The idiosyncratic French artist was an outlier on the royal road of 20th century modernism, and an interesting one., Experimenting first with Impressionism, then Pointillism, and then Cubism and Dada, Francis Picabia (1879-1953) made himself impossible to categorize., Picabia found the right container for his instincts. Those paintings make me deliriously happy; they sing. It s amazing they exist., ..not many historical figures have seemed as ripe [as Picabia] not only for reevaluation, but simply to have her or his work seen fully., Picabia's wit, use of language and found imagery, adn his style changes, make him a precursor not just of Pop Art but of Post-Modernist painting., From his earliest Impressionist efforts, through Cubist, Dadaist, Surrealist and realist work& Picabia shifted fluidly with the cultural moment, all the while vigorously denouncing the style he d just left behind&With copious illustrations and 16 essays, this hefty catalog for the current retrospective at the Museum of Modern Art attempts to chart a zigzag career that made up in energy what it lacked in depth of exploration., From his earliest Impressionist efforts, through Cubist, Dadaist, Surrealist and realist work... Picabia shifted fluidly with the cultural moment, all the while vigorously denouncing the style he'd just left behind...With copious illustrations and 16 essays, this hefty catalog for the current retrospective at the Museum of Modern Art attempts to chart a zigzag career that made up in energy what it lacked in depth of exploration.
Dewey Edition
23
Dewey Decimal
709.2
Synopsis
By rejecting consistency, Picabia powerfully asserted the artist's freedom to change Irreverent and audacious, restless and brilliant, Francis Picabia achieved fame as a leader of the Dada group only to break publicly with the movement in 1921. Moving between Paris, the French Riviera, Switzerland, and New York, he led a dashing life, painting, writing, yachting, gambling, racing fast cars, and organizing lavish parties. Like no other artist before him, Picabia created a body of work that defies consistency and categorization, from Impressionist landscapes to abstraction, from Dada to stylized nudes, and from performance and film to poetry and publishing. A primary constant in his career was his vigorous unpredictability. Illustrated with nearly 500 reproductions, this sweeping survey of Picabia's eclectic career embraces the challenge of his work, asking how we can make sense of its wildly shifting mediums and styles. In her opening essay, curator Anne Umland writes that with Picabia, familiar oppositions "between high art and kitsch, progression and regression, modernism and its opposite, and success and failure are undone." In 15 superb essays, additional authors including distinguished professors George Baker, Briony Fer, and David Joselit and renowned Picabia scholars Carole Boulbès and Arnauld Pierre delve into the radically various mediums, styles, and contexts of Picabia's work, discussing his Dada period, his abstractions, his mechanical paintings, his appropriations of source imagery, his multifaceted relationship with print (both in his paintings and as a publisher and contributor to vanguard journals), his forays into screenwriting and theater, and his complex politics. Marcel Duchamp, of course, but also Nietzsche and Gertrude Stein make repeat appearances along the way. Turning to Picabia's contemporary legacy, Cathérine Hug maps the history of his critical reception and interviews contemporary curators and artists, including Peter Fischli, Albert Oehlen, and David Salle. A lively 30-page chronology illustrated with archival photographs and ephemera gives readers a year-by-year account of the artist's colorful life and of his interactions with fellow artists and critics, friends, and lovers. Together these essays suggest that the unruly genius of Picabia offers us a powerfully relevant and provocative alternative to the familiar narrative of modernism. Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Directionaccompanies the major 2016 exhibition on the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich. Francis Picabiawas born in 1879 in Paris, the only child of a Cuban-born Spanish father and a French mother. His first success came as a painter in an Impressionist manner. He went on to become one of the principle figures of the Dada movement in New York and Paris. In 1925 Picabia moved to the south of France, where he lived and worked through World War II. Following the war, Picabia returned to Paris, where he died in 1953., By rejecting consistency, Picabia powerfully asserted the artist's freedom to change Irreverent and audacious, restless and brilliant, Francis Picabia achieved fame as a leader of the Dada group only to break publicly with the movement in 1921. Moving between Paris, the French Riviera, Switzerland, and New York, he led a dashing life, painting, writing, yachting, gambling, racing fast cars, and organizing lavish parties. Like no other artist before him, Picabia created a body of work that defies consistency and categorization, from Impressionist landscapes to abstraction, from Dada to stylized nudes, and from performance and film to poetry and publishing. A primary constant in his career was his vigorous unpredictability. Illustrated with nearly 500 reproductions, this sweeping survey of Picabia's eclectic career embraces the challenge of his work, asking how we can make sense of its wildly shifting mediums and styles. In her opening essay, curator Anne Umland writes that with Picabia, familiar oppositions "between high art and kitsch, progression and regression, modernism and its opposite, and success and failure are undone." In 15 superb essays, additional authors--including distinguished professors George Baker, Briony Fer, and David Joselit and renowned Picabia scholars Carole Boulb s and Arnauld Pierre--delve into the radically various mediums, styles, and contexts of Picabia's work, discussing his Dada period, his abstractions, his mechanical paintings, his appropriations of source imagery, his multifaceted relationship with print (both in his paintings and as a publisher and contributor to vanguard journals), his forays into screenwriting and theater, and his complex politics. Marcel Duchamp, of course, but also Nietzsche and Gertrude Stein make repeat appearances along the way. Turning to Picabia's contemporary legacy, Cath rine Hug maps the history of his critical reception and interviews contemporary curators and artists, including Peter Fischli, Albert Oehlen, and David Salle. A lively 30-page chronology illustrated with archival photographs and ephemera gives readers a year-by-year account of the artist's colorful life and of his interactions with fellow artists and critics, friends, and lovers. Together these essays suggest that the unruly genius of Picabia offers us a powerfully relevant and provocative alternative to the familiar narrative of modernism. Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction accompanies the major 2016 exhibition on the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Z rich. Francis Picabia was born in 1879 in Paris, the only child of a Cuban-born Spanish father and a French mother. His first success came as a painter in an Impressionist manner. He went on to become one of the principle figures of the Dada movement in New York and Paris. In 1925 Picabia moved to the south of France, where he lived and worked through World War II. Following the war, Picabia returned to Paris, where he died in 1953., Among the great modern artists of the past century, Picabia is one of the most elusive, given his extreme eclecticism and persistent acts of self-contradiction. Though known as a Dadaist, Picabia's ongoing stylistic shifts, from Impressionism to radical abstraction, from mechanical imagery to pseudo-classicism, and from photo-based realism to art informel remain to be assessed in depth. Similarly, the breadth of his practice, which encompassed poetry, film and performance is under-recognized. Each makes him a figure relevant for contemporary artists, while the career as a whole challenges familiar narratives of modernism. Francis Picabia presents over 100 paintings, complemented by works on paper, publications, and film. Featuring some 500 illustrations and 14 essays, it examines the full range of Picabia's oeuvre. Authors including the exhibition curators, Anne Umland and Cathérine Hug, distinguished professors George Baker, Briony Fer, and David Joselit, and renowned Picabia scholars Carole Boulbès and Arnauld Pierre discuss a varied series of topics, including the corporeal character of Picabia's abstractions, his unexpected turn to mechanical painting, his experiments with materials and source imagery, the problems of his politics, and his contemporary legacy. A richly illustrated chronology details the expanded nature of Picabia's visual production - from press polemics to party organizing., By rejecting consistency, Picabia powerfully asserted the artist's freedom to change Irreverent and audacious, restless and brilliant, Francis Picabia achieved fame as a leader of the Dada group only to break publicly with the movement in 1921. Moving between Paris, the French Riviera, Switzerland, and New York, he led a dashing life, painting, writing, yachting, gambling, racing fast cars, and organizing lavish parties. Like no other artist before him, Picabia created a body of work that defies consistency and categorization, from Impressionist landscapes to abstraction, from Dada to stylized nudes, and from performance and film to poetry and publishing. A primary constant in his career was his vigorous unpredictability. Illustrated with nearly 500 reproductions, this sweeping survey of Picabia's eclectic career embraces the challenge of his work, asking how we can make sense of its wildly shifting mediums and styles. In her opening essay, curator Anne Umland writes that with Picabia, familiar oppositions "between high art and kitsch, progression and regression, modernism and its opposite, and success and failure are undone." In 15 superb essays, additional authors--including distinguished professors George Baker, Briony Fer, and David Joselit and renowned Picabia scholars Carole Boulbès and Arnauld Pierre--delve into the radically various mediums, styles, and contexts of Picabia's work, discussing his Dada period, his abstractions, his mechanical paintings, his appropriations of source imagery, his multifaceted relationship with print (both in his paintings and as a publisher and contributor to vanguard journals), his forays into screenwriting and theater, and his complex politics. Marcel Duchamp, of course, but also Nietzsche and Gertrude Stein make repeat appearances along the way. Turning to Picabia's contemporary legacy, Cathérine Hug maps the history of his critical reception and interviews contemporary curators and artists, including Peter Fischli, Albert Oehlen, and David Salle. A lively 30-page chronology illustrated with archival photographs and ephemera gives readers a year-by-year account of the artist's colorful life and of his interactions with fellow artists and critics, friends, and lovers. Together these essays suggest that the unruly genius of Picabia offers us a powerfully relevant and provocative alternative to the familiar narrative of modernism. Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction accompanies the major 2016 exhibition on the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich. Francis Picabia was born in 1879 in Paris, the only child of a Cuban-born Spanish father and a French mother. His first success came as a painter in an Impressionist manner. He went on to become one of the principle figures of the Dada movement in New York and Paris. In 1925 Picabia moved to the south of France, where he lived and worked through World War II. Following the war, Picabia returned to Paris, where he died in 1953.
LC Classification Number
ND553.P47
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