The Color of Modernism

Mark Wigley famously argued that white be recognized as a color, which elides consideration of other colors in early modernism.12 Wigley also constructs a series of dichotomous relationships between whiteness and color to explain the ...

Author: Deborah Ascher Barnstone

Publisher: Bloomsbury Publishing

ISBN: 9781350251366

Category: Architecture

Page: 256

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One of the most enduring and pervasive myths about modernist architecture is that it was white-pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism's most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.
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The Color of Modernism

Introduction: Color in German Architecture of the 1920s -- Color and Mysticism -- Color and Fourth-dimensional Space -- Color and Spatial Perception -- Color and Optical Pleasure -- Color Healing, Color Psychology and Emotion -- Epilogue: ...

Author: Deborah Ascher Barnstone

Publisher: Bloomsbury Visual Arts

ISBN: 9781350251342

Category: Architecture

Page: 240

View: 152

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One of the most enduring and pervasive myths about modernist architecture is that it was white-pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism's most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.
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Geomodernisms

Modernism, modernity. edited by Laura Doyle and Laura Winkiel Laura Doyle Doyle, Laura Anne Doyle, Laura Doyle, ... 1 The Future of an Allusion : The Color of Modernity Aldon Lynn Nielsen If the cynical consciousness of the " black ...

Author: Laura Doyle Doyle

Publisher: Indiana University Press

ISBN: 0253217784

Category: Literary Criticism

Page: 354

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"Modernism as a global phenomenon is the focus of the essays gathered in this book. The term "geomodernisms" indicates their subjects' continuity with and divergence from commonly understood notions of modernism. The contributors consider modernism as it was expressed in the non-Western world; the contradictions at the heart of modernization (in revolutionary and nationalist settings, and with respect to race and nativism); and modernism's imagined geographies, "pyschogeographies" of distance and desire as viewed by the subaltern, the caste-bound, the racially mixed, the gender-determined." -- Publisher's description
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Weaving Modernism

Whereas the latter emphasized “dark-and-light, 'dramatic' structure,” Monet provided “chromatic 'symphonic' structure,” and in this way the artist anticipated the emphasis on color by many late modernists.21 In particular, ...

Author: K. L. H. Wells

Publisher: Yale University Press

ISBN: 9780300232592

Category: Art

Page: 268

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An unprecedented study that reveals tapestry's role as a modernist medium and a model for the movement's discourse on both sides of the Atlantic in the decades following World War II
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Preface to Modernism

In painting , early modernism begins with Van Gogh , Gauguin , and Cézanne . The avowed “ realism ” of the impressionists , their use of color as direct and accurate representation , is discarded by freeing light and color to disclose ...

Author: Art Berman

Publisher: University of Illinois Press

ISBN: 0252063910

Category: Literary Criticism

Page: 354

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Berman traces the conceptual lineage of modernism, examining its evolution in Western art and literature through empiricism, idealism, and romanticism. Using modernist literary and visual movements as examples, Berman demonstrates how modern social, political, and scientific developments--including capitalism, socialism, humanism, psychoanalysis, fascism, and modernism itself--have altered attitudes toward time, space, self, creativity, the natural world, and community.
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Modernism

This you can learn if you are in good health and not color blind. Oil paint, canvas and brush are material and tools. It is possible by expedient distribution of oil paint on canvas to copy natural impressions; under favorable ...

Author: Lawrence Rainey

Publisher: John Wiley & Sons

ISBN: 9780631204480

Category: Language Arts & Disciplines

Page: 1181

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"Modernism: An Anthology" is the most comprehensive anthology of Anglo-American modernism ever to be published. The giants of modernist literature - James Joyce, Gertrude Stein, Virginia Woolf, T. S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, Samuel Beckett - are amply represented, along with another 20 Anglo-American writers. In addition, the book features a generous selection of texts by avant-garde thinkers and writers from the Continent. These enable the reader to trace modernism's interaction with the Futurists, the Dadaists, the Surrealists, and the Frankfurt School. Supported by helpful annotations and an extensive bibliography, this "Anthology" allows readers to encounter anew the extraordinary revolution in language that utterly transformed the aesthetics of the modern world.
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Modernism the Visual and Caribbean Literature

''The Future of an Allusion: The Color of Modernity,'' Geomodernisms, ed. Doyle and Winkiel, pp. 17–30. 46. Shesgreen, Engravings by Hogarth, No. 19, Plate II. 47. Gikandi, ''Race and the Idea of the Aesthetic.'' 48.

Author: Mary Lou Emery

Publisher: Cambridge University Press

ISBN: 9780521872133

Category: Literary Criticism

Page: 290

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Vision is a recurring obsession in the work of twentieth-century Caribbean writers. This ambitious study offers a comprehensive analysis of the visual in authors from the Anglophone Caribbean as they intersect with mainstream Modernism. She argues that their preoccupation with vision directly addresses philosophies of sensory perception developed at the height of the slave trade and emerges in conditions of diaspora continuing into the present. This study is an original and important contribution to transatlantic and...
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Raymond Jonson and the Spiritual in Modernist and Abstract Painting

The Color of Modernism: The American Fauves. New York: Hollis Taggart Galleries, 1997. Golding, John. Cubism: A History and an Analysis, 1907–1914. Cambridge, MA: Belknap Press, 1988. ———. Paths to the Absolute: Mondrian, Malevich, ...

Author: Herbert R. Hartel, Jr.

Publisher: Routledge

ISBN: 9781351778022

Category: Art

Page: 222

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This is the most thorough and detailed monograph on the artwork of Raymond Jonson. He is one of many artists of the first half of the twentieth-century who demonstrate the richness and diversity of an under-appreciated period in the history of American art. Visualizing the spiritual was one of the fundamental goals of early abstract painting in the years before and during World War I. Artists turned to alternative spirituality, the occult, and mysticism, believing that the pure use of line, shape, color, light and texture could convey spiritual insight. Jonson was steadfastly dedicated to this goal for most of his career and he always believed that modernist and abstract styles were the most effective and compelling means of achieving it.
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Art Criticism and Modernism in the United States

identification of colour with the ground. This was achieved through avoiding the direct application of paint to the surface by pouring and staining liquefied pigment onto the canvas; subsequently, the figure–ground relationship was ...

Author: Stephen Moonie

Publisher: Routledge

ISBN: 9781000554311

Category: Art

Page: 206

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This study is an analysis of 'high' and 'late' modernist criticism in New York during the 1960s and early 1970s. Through a close reading of a selection of key critics of the period—which will expand the remit beyond the canonical texts—the book examines the ways that modernist criticism’s discourse remains of especial disciplinary interest. Despite its alleged narrowness and exclusion, the debates of the 1960s raised fundamental questions concerning the nature of art writing. Those include arguments around the nature of value and judgement; the relationship between art criticism and art history; and the related problem of what we mean by the ‘contemporary.’ Stephen Moonie argues that within those often-fractious debates, there exists a shared discourse. And further, contrary to the current consensus that modernists were elitist, dogmatic, and irrelevant to contemporary debates on art, the study shows that there is much that we can learn from reconsidering their writings. The book will be of interest to scholars working in art history, modern art, art criticism, and literary studies.
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Cultures of Modernism

The color blue marking both the source of art and the dead she misses was the favored color of Expressionists , made famous in Kandinsky and Marc's Der blaue Reiter Almanac . As previously mentioned , not only did Lasker - Schüler call ...

Author: Cristanne Miller

Publisher: University of Michigan Press

ISBN: 0472032372

Category: Literary Criticism

Page: 267

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Examining the influences of location on the literary achievements of three modernist women writers, this text shows how the structure and location of literary communities influence who writes, what they write about, and their openness to formal experimentation - and in particular, women writers.
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