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Spurred by innovations in printing technology, the modern poster emerged in the 1890s as a popular form of visual culture in the United States. Created by some of the best-known illustrators and graphic designers of the period—including Will H. Bradley, Florence Lundborg, Edward Penfield, and Ethel Reed—these advertisements for books and high-tone periodicals such as Harper’s and Lippincott’s went beyond the realm of commercial art, incorporating bold, stylized imagery and striking typography. This book, based on the renowned Leonard A. Lauder Collection, explores the craze for literary posters, which became sought after collectibles even in their day. It offers new scholarly perspec...
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The Florence revealed in Eric Lindbloom's Angels at the Arno is almost startling in its intimacy and quiet solitude. Lindbloom's view of the city - rendered exclusively through the plastic lens of a Diana camera, virtually a child's toy - brings this venerable city to new life and light. With unabashed subjectivity and an offbeat, oneiric sensibility, Lindbloom conveys his sense of an unveiled Florence, filled with views striking for the beauty they contain rather than for the history they suggest.
At an unprecedented and probably unique American moment, laboring people were indivisible from the art of the 1930s. By far the most recognizable New Deal art employed an endless frieze of white or racially ambiguous machine proletarians, from solo drillers to identical assembly line toilers. Even today such paintings, particularly those with work themes, are almost instantly recognizable. Happening on a Depression-era picture, one can see from a distance the often simplified figures, the intense or bold colors, the frozen motion or flattened perspective, and the uniformity of laboring bodies within an often naive realism or naturalism of treatment. In a kind of Social Realist dance, the FAP...
Precolumbian art -- Viceregal art -- Nineteenth century art -- Twentieth century art.