Superrealism is the first important movement of the 20th century with a return to realism. It is an intensely American phenomenon which has received tremendous popular attention. The level of detail makes the art appear like photographs &amp; the subjects often mundane. Christine Lindey compares &amp; contrasts the two forms &amp; traces the origin of the style as well as its European variants. The book features a wealth of color &amp; B&amp;W reproductions, some in multiple stages of the work.

Superrealist painting & sculpture

Lindey, Christine

Morrow

Super-realist Painting and Sculpture

Orbis Pub.

A fresh approach to the study of the theory and practice of the nineteenth-century s fine art. Fifty key art terms provide a context for copious contemporary quotations from those with direct experience of the creative process: artists, critics, writers and thinkers. The book thus avoids the hackneyed definition of major movements and artists groups, and instead discusses these through a rich diversity of attitudes to each keyword: those, for example, of the Romantic, Barbizon and Symbolist artists and their publics to issues such as exhibitions, landscape, drawing and the pervasive influence of the antique. The quotations are drawn from a wide range of sources. Chosen to exemplify particular historical, geographical, socio-political and aesthetic tendencies, these provide familiar pivotal figures to help guide the reader through a highly populated and fastchanging art world. The emphasis is on French and, to a lesser degree, British art but a range of European and North American art is also discu

Keywords of Nineteenth-Century Art

Arts & Photography

Sansom (Acc)

Art for All: British socially committed art from World War Two to the Cold War

Artery Publications

This book, which covers new ground, is a study of high and low art, official and unofficial, in the Soviet Union and the West in the Cold War years, 1945–62. It is a paradox that the Soviet Union, a nation born of revolution, should have encouraged 'official' art which was conservative and conformist, whereas Western Europe, and the USA in particular, should preach traditional values, but have a high art which spoke of dissent. Other curious contradictions and parallels emerge―Soviet 'official' art was predominantly realist in style and popular with the general public, as were popular prints in the West. Both have largely been ignored by the western art establishment. It is the unofficial art of the Soviet Union and the high art of the West―for example, Rothko, Pollock, Bacon and Dubuffet―which have always attracted critical attention. Christine Lindey's pioneering study examines these paradoxes and illustrates many artists, notably those from the Soviet Union, whose work has rarely been seen in the West. As glasnost changes our perceptions of the contemporary Soviet Union, here is the first history of all aspects of art there in the postwar years, set in the political context, and comparing it with developments in art in the West.

Art in the Cold War: From Vladivostok to Kalamazoo 1945-1962

History & Criticism

New Amsterdam Books

Art in the Cold War: From Vladivostok to Kalamazoo, 1945-1962

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