第 1/1 張圖片
第 1/1 張圖片
Roy Lichtenstein: American Indian Encounters, Stavitsky, Gail, Very Good Book
US $14.48
大約HK$ 112.80
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“light shelfwear, NICE! Oversized.”
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曾被閱讀過的書籍，但狀況良好。封面不存在明顯損壞，精裝本書籍含書皮。不存在缺頁或內頁受損，無褶皺或破損，同時也沒有對文字標注/標記，或在留白處書寫內容。內封面上標記可能極少。書籍的磨損和破損程度也很低。
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所在地：Harrisburg, Pennsylvania, 美國
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物品細節
- 物品狀況
- 很好
- 賣家備註
- “light shelfwear, NICE! Oversized.”
- ISBN
- 9780813537382
- Subject Area
- Art
- Publication Name
- Roy Lichtenstein : American Indian Encounters
- Publisher
- Rutgers University Press
- Item Length
- 11 in
- Subject
- Individual Artists / General, General
- Publication Year
- 2005
- Type
- Textbook
- Format
- Perfect
- Language
- English
- Item Height
- 0.4 in
- Item Weight
- 18 Oz
- Item Width
- 8.5 in
- Number of Pages
- 80 Pages
關於產品
Product Identifiers
Publisher
Rutgers University Press
ISBN-10
081353738X
ISBN-13
9780813537382
eBay Product ID (ePID)
15038794732
Product Key Features
Number of Pages
80 Pages
Publication Name
Roy Lichtenstein : American Indian Encounters
Language
English
Subject
Individual Artists / General, General
Publication Year
2005
Type
Textbook
Subject Area
Art
Format
Perfect
Dimensions
Item Height
0.4 in
Item Weight
18 Oz
Item Length
11 in
Item Width
8.5 in
Additional Product Features
Intended Audience
Scholarly & Professional
Illustrated
Yes
Dewey Decimal
B
Table Of Content
Foreword and Acknowledgments Preface Roy Lichtenstein: American Indian Encounters Exhibition Checklist Plates Appendix Books on American Indian Art and Surrealism in the Library of Roy Lichtenstein
Synopsis
One of America's leading Pop artists, Roy Lichtenstein was a master of stereotype. Bringing sophisticated analyses to visual conventions, he had a distinct flair for using irony to exploit past and existing styles. Today, his name is typically associated with whimsical renderings of comic strips and advertisements--paintings marked by their bold colors, prominent black outlines, and patterns of Ben Day dots. Beyond his fascination for icons of popular culture, however, Lichtenstein had a little-known, but deep appreciation for the objects and images of American Indian culture. This book explores in detail and fully illustrates a virtually unknown collection of his paintings and works on paper that were influenced by his encounters with Native American subjects., One of America's leading Pop artists, Roy Lichtenstein was a master of stereotype. Bringing sophisticated analyses to visual conventions, he had a distinct flair for using irony to exploit past and existing styles. Today, his name is typically associated with whimsical renderings of comic strips and advertisements--paintings marked by their bold colors, prominent black outlines, and patterns of Ben Day dots. Beyond his fascination for icons of popular culture, however, Lichtenstein had a little-known, but deep appreciation for the objects and images of American Indian culture. This book explores in detail and fully illustrates a virtually unknown collection of his paintings and works on paper that were influenced by his encounters with Native American subjects. Lichtenstein's cubist abstractions from the early 1950s reflect his interest in European modernism, specifically the work of artists such as Pablo Picasso, Joan Miró, and Paul Klee. The Native American subjects of these works also suggest the artist's interest in nineteenth-century sources such as George Catlin, the Swiss painter Karl Bodmer, the German artist Charles Wimar, and the American artist John Vanderlyn. Lichtenstein himself characterized the paintings from this period as "reinterpretations of those artists concerned with the opening of the west . . . with the subject matter of cowboys, Indians, treaty signings--a sort of Western official art in a style broadly influenced by modern European painting." The themes and compositions of these often-ignored early works are revisited in Lichtenstein's 1979 "Amerindian" paintings and related drawings and prints. His paintings from this period were primarily inspired by his extensive collection of catalogues of Native American design motifs. Lichtenstein also attended powwows at the nearby Shinnecock Indian reservation in Southhampton, Long Island. For Lichtenstein, Native American art provided a historical base for American art, reminiscent of African art's relationship to early European modernism. This catalogue, including forty color illustrations, is the first to examine the compelling details of this foundation., One of America's leading Pop artists, Roy Lichtenstein was a master of stereotype. Bringing sophisticated analyses to visual conventions, he had a distinct flair for using irony to exploit past and existing styles. Today, his name is typically associated with whimsical renderings of comic strips and advertisements--paintings marked by their bold colors, prominent black outlines, and patterns of Ben Day dots. Beyond his fascination for icons of popular culture, however, Lichtenstein had a little-known, but deep appreciation for the objects and images of American Indian culture. This book explores in detail and fully illustrates a virtually unknown collection of his paintings and works on paper that were influenced by his encounters with Native American subjects. Lichtenstein's cubist abstractions from the early 1950s reflect his interest in European modernism, specifically the work of artists such as Pablo Picasso, Joan Mir , and Paul Klee. The Native American subjects of these works also suggest the artist's interest in nineteenth-century sources such as George Catlin, the Swiss painter Karl Bodmer, the German artist Charles Wimar, and the American artist John Vanderlyn. Lichtenstein himself characterized the paintings from this period as "reinterpretations of those artists concerned with the opening of the west . . . with the subject matter of cowboys, Indians, treaty signings--a sort of Western official art in a style broadly influenced by modern European painting." The themes and compositions of these often-ignored early works are revisited in Lichtenstein's 1979 "Amerindian" paintings and related drawings and prints. His paintings from this period were primarily inspired by his extensive collection of catalogues of Native American design motifs. Lichtenstein also attended powwows at the nearby Shinnecock Indian reservation in Southhampton, Long Island. For Lichtenstein, Native American art provided a historical base for American art, reminiscent of African art's relationship to early European modernism. This catalogue, including forty color illustrations, is the first to examine the compelling details of this foundation.
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