Sebastian Smee Ordine dei libri (cronologico)

The narrative explores the connection between the Siege of Paris and the Paris Commune and the emergence of Impressionism. It delves into how the turmoil and upheaval of these historical events influenced artists, shaping their perspectives and techniques. The book reveals how the chaos of the time served as a catalyst for a revolutionary art movement, highlighting the interplay between social change and artistic expression. Through vivid accounts, it uncovers the profound impact of this period on the development of modern art.

Manet sticht auf ein Doppelporträt ein, das sein Freund Degas von ihm und seiner Frau gemalt hat. Im Wettstreit mit Matisse verändert Picasso seinen Kunststil radikal und malt sein Meisterwerk »Les Demoiselles d’Avignon«. Francis Bacon und Lucian Freud verbindet nicht nur die Fixation aufs Porträt, sondern auch der Hang zum selbstzerstörerischen Exzess. Es sind nicht nur solche Geschichten, die das Buch von Pulitzer-Preisträger Sebastian Smee über vier enge Künstlerfreundschaften zu einer so unterhaltsamen und spannenden Lektüre machen. In Biographien von acht weltberühmten Künstlern erzählt Smees Buch von Freundschaft und Rivalität zwischen höchst unterschiedlichen Charakteren, von Bewunderung, Affären, Krisen und Triumph und von einigen der bahnbrechendsten künstlerischen Entwicklungen der Moderne.

Lucian Freud (1922-2011) cercava di rivelare la verità attraverso i suoi ritratti, analizzando i modelli con la precisione di uno scienziato. Le sue opere, che rivelano emozioni e vulnerabilità, esplorano il complesso rapporto tra artista e soggetto. Questo libro presenta alcuni dei suoi ritratti più iconici.

British artist Lucian Freud is widely considered the most important figurative painter working today. His portraits may be physically unflattering to their subjects, but they are honest, frank, and unapologetic.

British artist Lucian Freud is widely considered the most important figurative painter working today. Master portraitist and specialist in nudes, Freud uses impasto to create depth and intensity while restraining his color palate to mostly muted hues. His portraits may be physically unflattering to their subjects, but they are honest, frank, and unapologetic. I paint people, Freud has said, not because of what they are like, not exactly in spite of what they are like, but how they happen to be.