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Book
239 p. : ill. (chiefly col.) ; 30 cm.
Joan Miro's paintings are among the most widely recognized of any modern artist, reproduced everywhere from books to t-shirts and Spanish tourist posters. While he is most often seen as a surrealist or a post-war abstract painter, terms he rejected, this book brings new insights into Miro's work by framing it in the context of the turbulent times in which he lived. Miro's contemporary Picasso left Spain, promising never to return under a Fascist government. In contrast, Miro chose internal exile, removing himself to the island of Mallorca, a decision that has led to him being viewed as a less politically committed artist. This book challenges that impression by focusing on Miro's politically engaged works, from the rural, anarchist tradition and strong Catalan nationalism reflected in early paintings "The Farm" and "Head of a Catalan Peasant", through to the triptych "The Hope of a Condemned Man", painted in 1974, by which he publicly declared his opposition to Franco. Drawing on new scholarship from an international range of experts, and accompanying the first exhibition in Britain for nearly half a century to show work from throughout Miro's career, "Joan Miro: The Ladder of Escape" throws new light on the life and career of one of the greatest artists of the 20th century.
(source: Nielsen Book Data)9781854379771 20160605
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
2 v. : ill. (some col.) ; 25 cm. + 1 DVD-ROM (4 3/4 in.)
  • V. 1. Exposición
  • v. 2. Documentos, cronología, documental.
Green Library
ILAC-281E-01, ARTHIST-221E-01

3. Obra poética [2010]

Book
486 p. ; 21 cm.
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
xvii, 269 p. : ill. (some col.) ; 25 cm.
  • Introduction: silence in painting
  • Calligraphy: vine and sundial
  • Extension: toys and rainbows
  • Stroke: medium and compass
  • Entering painting's thickness: translucence and turning
  • Suicide: Leiris and Siriel
  • Conclusion: Miró in silence.
"Fixed Ecstasy" advances a fundamentally new understanding of Miro's enterprise in the 1920s and of the most important works of his career. Without a doubt, Joan Miro (1893-1983) is one of the leading artists of the early twentieth century, to be ranked alongside such artists as Picasso, Matisse, Mondrian, and Pollock in his contributions to Modernist painting. Still, Miro's work has eluded easy classification. He is best known as a Surrealist, but, as Charles Palermo demonstrates, Miro's early years in Barcelona and Paris require a revisionist account of Miro's development and his place in modernism. Palermo's arguments are based on new research into Miro's relations with the rue Blomet group of writers and artists, as well as on close readings of the techniques and formal structures of Miro's early drawings and paintings. Chapter by chapter, Palermo unfolds a narrative that makes a cogent argument for freeing Miro from longstanding dependence on Surrealism with its strong emphasis on dreams and the unconscious. Miro, along with associates such as Georges Bataille, Carl Einstein, and Michel Leiris, pressed representation to its limit at the verge of an ecstatic identification with the world.
(source: Nielsen Book Data)9780271029726 20160528
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
242 p. : col. ill. ; 28 cm.
Green Library
ARTHIST-221E-01, ILAC-281E-01

6. Dalí & film [2007]

Book
240 p. : ill. (chiefly col.), facsims., ports. ; 29 cm.
Salvador Dali was one of the most famous and also one of the most notorious artists of the twentieth century, his flamboyant personal style establishing him as a showman in the popular imagination. While the centenary of Dali's birth in 2004 was marked by a worldwide series of exhibitions, events and publications, no thorough investigation has taken place of the part played by film as a key influence on Dali's art, nor of his extensive involvement in film-based projects. "Dali and Film" redresses this omission, presenting both the major works that reflect Dali's preoccupation with film and material related to the key film projects on which he worked. Cinema contributed to Dali's understanding of both the power and the uses of illusion. In 1929 and 1930, he collaborated with Luis Bunuel on the startling and highly controversial films, Un Chien Andalou and L'Age d'Or. Many years later, Dali worked with the Disney studios in Hollywood and with Alfred Hitchcock, devising a dream sequence for the psychological thriller Spellbound that remains one of the most innovative in cinema. Over the intervening years, Dali had come to reject the implicit elitism of modernist film and embrace instead the popularity of mainstream cinema, recognising its potential to bring his work to a vast audience. "Dali and Film" reveals the depth and persistence of Dali's fascination with the medium, bringing a new dimension to our understanding of one of the great masters of twentieth-century art.
(source: Nielsen Book Data)9781854376848 20160527
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
300 p. : ill. ; 22 cm.
Green Library
ILAC-281E-01, ARTHIST-221E-01
Book
vii, 239 pages : illustrations (some color) ; 29 cm
  • The neoclassical painter
  • In the shadow of Picasso
  • Putrefaction and astronomy
  • Art and anti-art
  • The assassination of painting
  • Playing the lugubrious game
  • Surrealism's moral stance.
As a very young artist in training at the academy in Madrid, Salvador Dali worked in two distinct modes - a highly detailed naturalism (under the influence of the 'return to order') and a more avant-garde, cubist-derived style that owed much to Picasso (whom Dali visited in Paris in 1926). Then, in 1927, the twenty-three-year-old artist, influenced by Andre Breton's "Surrealist Manifesto" of 1924 and the paintings of such artists as Joan Miro and Yves Tanguy, began to move towards Surrealism. In the spring of 1929, to coincide with the shooting of Bunuel's Un Chien andalou, Dali organized his first Paris exhibition, thereby gaining acclaim as a full member of the surrealist movement. This book offers a wealth of new material about Dali's formative years as a young artist in Spain and first years in Paris. Felix Fanes, one of the most knowledgeable Dali scholars in the world, transforms perceptions of the artist and shows how the stage was set for the emergence of Dali's mature artistic personality. With a fresh and detailed assessment of Dali's truly revolutionary work, Fanes reveals the central role of the artist not only in the development of the Surrealist movement but also the course of twentieth-century art.
(source: Nielsen Book Data)9780300091793 20170807
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
xvii, 524 p. : col. ill. ; 31 cm.
During the years after the September Revolution of 1868, Barcelona experienced tremendous industrial growth and emerged as the most politically and culturally progressive city in Spain. "Barcelona and Modernity" examines this remarkable seventy-one-year period, when Barcelona also reigned as one of the most dynamic centres of modernist art and architecture in Europe. Focusing on the Catalan Renaixenca, Modernisme, Noucentisme, avant-garde movements of the early 20th century, and artistic reactions to the Spanish Civil War, essays by an extraordinary international team of scholars offer new insights into the work of such Catalan artists as Antoni Gaudi, Pablo Picasso, Joan Miro, and Salvador Dali, among others, by setting them in context with the art of their teachers, colleagues, and rivals. With approximately 350 works in a variety of media - painting, sculpture, photography, furniture, decorative arts, and architectural design - this intriguing book also explores how Catalan artists derived inspiration from local traditions while contributing their own innovations to international modernism. Broader in scope than any previous treatment of the subject, this book is sure to alter popular perceptions of Catalonia and become a fundamental text for years to come.
(source: Nielsen Book Data)9780300121063 20160528
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
1,165 p. ; 22 cm.
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
vii, 261 p. : ill. (some col.) ; 29 cm.
How might artistic practice offer unique insight into the cataclysmic debacle of war? "Surrealism and the Spanish Civil War" plumbs this provocative question through an ambitious account of a pivotal period in European cultural history. A new approach to the subject of artists' responses to war, it articulates the relation between artistic endeavour and politics during periods of social crisis. By scrutinising the widely varying responses to the Spanish Civil War in the work of Miro, Dali, Caballero, Masson and Picasso, this book investigates Surrealism's efforts to bridge the divide between political thought and political act. Robin Adele Greeley examines such central works as Miro's "Still Life" with "Old Shoe" and Dali's "Autumn Cannibalism" in the context of contemporary works and historical events. Only when these images are thus considered, she argues, do they disclose the role of politics in their manufacture. In so doing, Greeley makes a case for the ambivalent status of visual representation vis-a-vis politics, to claim that politics enters the image through the formal strategies of artmaking and viewing, while simultaneously resisting that very incorporation. Volatile topics such as Surrealism's various flirtations with fascism, the movement's troubled relationship to the Communist Party and the Popular Front, and the distinct development of Spanish versus French Surrealism are closely analysed by Greeley. She explores how the actuality of shifting politics often undermined carefully constructed visual practices, as in the case of the Catalan nationalism which represented one pole of Miro's surrealism, or Masson's inability to resolve the tension between a Nietzchean celebration of ecstatic violence and directed political action. The book concludes with a discussion of Picasso's "Guernica", to reveal the profound role politics played in the constitution of Guernica, not as something to be represented iconographically, but as a 'performative' force remade through the actual process of representation.
(source: Nielsen Book Data)9780300112955 20160527
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
293 p.
'I, Salvador Dali, come from Spain, which is the most irrational and most mystical country in the world.' Dali's implicit suggestion that Spaniards make good surrealists is fully borne out by Robert Havard's "Companion". Chapters consider major figures, such as Garcia Lorca, Salvador Dali, Luis Bunuel, Rafael Alberti, Vicente Aleixandre, Luis Cernuda, Joan Miro and Gomez de la Serna; other less mainstream figures are gathered into surveys of work in particular genres. The intention is to represent the broad evolution of Surrealism, from the early Freudian preoccupation with the unconscious to the Hegelian metaphysics of 'the surrealist object', and finally to the politics of Marxist materialism. The introduction focuses on salient features of Surrealism in Spain, and considers the value of its contribution both in terms of its adherence to French theory and as a distinctive cultural phenomenon. The contributors are: Dawn Ades, Andrew Anderson, Gwynne Edwards, Haim Finkelstein, Bob Gurney, Derek Harris, Robert Havard, Alan Hoyle, Patricia McDermott, Maria T. Pao, Jacqueline Rattray, James Valender, and Jason Wilson. 'Yo, Salvador Dali, soy de Espana, el pais mas irracional y mas mistico del mundo'. Bien pudiera haber anadido Dali que los espanoles son surrealistas por naturaleza, lo cual se expresa de forma preclara en este Companion editado por Robert Havard. Los capitulos comentan las figuras de mayor trascendencia del surrealismo espanol, como Garcia Lorca, Luis Bunuel, Rafael Alberti, Vicente Aleixandre, Luis Cernuda, Joan Miro, Gomez de la Serna y el mismo Dali. Otros de menor alcance se agrupan en estudios especificos segun los generos. El enfasis recae siempre sobre lo que es distintivo y original en el pensamiento o en la tecnica del autor dado, y siempre con el proposito de representar la evolucion mas amplia del Surrealismo en Espana: desde la temprana preocupacion freudiana con el inconsciente, pasando por la metafisica hegeliana del 'objeto surrealista', hasta llegar a la politica marxista del materialismo. La introduccion hace hincapie en los rasgos mas destacados del Surrealismo en Espana y trata de evaluar su contribucion tanto en lo que respecta a su adhesion a las teorias francesas como, asimismo, en el sentido de tratarse de, o ser juzgado como, un fenomeno cultural distinto en su sus propios terminos.
(source: Nielsen Book Data)
Green Library
ARTHIST-221E-01, ILAC-281E-01

13. Dalí [2004]

Book
607 p. : ill. (some col.), ports. ; 30 cm.
Salvador Dali is perhaps the most universally famous and popular artist of the twentieth century. On the occasion of the centenary of his birth comes the definitive retrospective of the artist's work from his early years. Dali explores the development of the artist's technique and style, his relationship with the Surrealists, and his exploitation of Freudian ideas, as well as the image Dali created of himself as the mad genius artist. This catalogue will be the major reference work for Dali for decades to come. It includes illustrations of all the works loaned to the exhibition, as well as comparative illustrations and photographs. The volume contains an introductory essay by Dawn Ades, with scholarly research incorporated in a "Dali Dictionary, " in the entries on individual works, and in the chronology, which includes a quantity of new material. The guide draws upon the best scholarship available on Dali, including that of Hank Hine, Director of the Salvador Dali Museum, Jennifer Mundy, Senior Curator of the Tate Museum, and Michael Taylor, Acting Chief Curator of Modern and Contemporary Art at the Philadelphia Museum of Art. .
(source: Nielsen Book Data)9780847826735 20160527
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
419 p. : ill. (some col.), ports. ; 29 cm.
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
x, 231 p., [12] p. of plates : ill. (some col.) ; 24 cm.
"Let us agree, " Federico Garcia Lorca wrote, "that one of man's most beautiful postures is that of St. Sebastian." "In my 'Saint Sebastian' I remember you, " Salvador Dali replied to Garcia Lorca, referring to the essay on aesthetics that Dali had just written, "and sometimes I think he is you. Let's see whether Saint Sebastian turns out to be you." This lively and intense exchange is but a glimpse into the complex relationship between two renowned and highly influential twentieth-century artists. On the centennial of Dali's birth, Sebastian's Arrows presents a never-before-published collection of their letters, lectures, and mementos. Written between 1925 and 1936, the letters and lectures bring to life a passionate friendship marked by a thoughtful dialogue on aesthetics and the constant interaction between poetry and painting. From their student days in Madrid's Residencia de Estudiantes, where the two waged war against cultural "putrefaction" and mocked the sacred cows of Spanish art, Dali and Garcia Lorca exchanged thoughts on the act of creation, modernity, and the meaning of their art. The volume chronicles how in their poetic skirmishes they sharpened and shaped each other's work - Garcia Lorca defending his verses of absence and elegy and his love of tradition while Dali argued for his theories of "Clarity" and "Holy Objectivity" and the unsettling logic of Surrealism. Christopher Maurer's masterful prologue and selection of letters, texts, and images (many generously provided by the Fundacion Gala-Salvador Dali and the Fundacion Federico Garcia Lorca) offer compelling and intimate insights into the lives and work of two iconic artists. The two men had a "tragic, passionate relationship, " Dali once wrote - a friendship pierced by the arrows of Saint Sebastian.
(source: Nielsen Book Data)9780967880884 20160528
Green Library
ARTHIST-221E-01, ILAC-281E-01

16. Obra completa [2003 - ]

Book
v. <1-3, 7> : ill. ; 18 cm.
  • v. 1. Textos autobiográficos
  • v. 2. Textos autobiográficos
  • v. 3. Poesía, prosa, teatro y cine
  • v. 4. Ensayos 1
  • vol. 5. Ensayos 2
  • vol. 6. Correspondencia
  • vol. 7. Entrevistas
  • vol. 8. Album.
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
xii, 248 p. : ill. ; 24 cm.
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
369 p. ; 24 cm.
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
357 p. : ill. (some col.) ; 30 cm.
Green Library
ARTHIST-221E-01, ILAC-281E-01
Book
xvi, 475 p. : ill. ; 24 cm.
Green Library
ARTHIST-221E-01, ILAC-281E-01