By 50 minutes, Coline Franceschetto

ISBN-10: 2806258243

ISBN-13: 9782806258243

Décryptez l'art d'Amedeo Modigliani en moins d'une heure !
Figure éminente de l. a. bohème parisienne au tournant du XXe siècle, Amedeo Modigliani reste cependant en marge des avant-gardes de l'époque. Il élabore, dans une quête stylistique sans fin, des graphics épurés où se mêlent mélancolie et absence, mais aussi des nus qui créent le scandale. Entre culture et modernité, Modigliani invente un paintings inimitable et reconnaissable entre mille !

Ce livre vous permettra d’en savoir plus sur :
- Le contexte culturel dans lequel Amedeo Modigliani s’inscrit
- los angeles vie de l'artiste et son parcours
- Les caractéristiques et spécificités de son art
- Une sélection d’œuvres-clés de Modigliani
- Son effect dans l’histoire de l’art

Le mot de l'éditeur :
« Dans ce numéro de los angeles série "50MINUTES | Artistes", Coline Franceschetto se penche sur le parcours d'Amedeo Modigliani, cet artiste toscan qui établit ses quartiers à Paris à l'aube d'un siècle nouveau... "Nouveau", son paintings l'est aussi : analysant les thèmes de prédilection et le kind si particulier de l'artiste, l'auteure nous fait pénétrer dans les méandres d'un artwork specific en son style. Coline Franceschetto étudie plus particulièrement certaines œuvres emblématiques de Modigliani, notamment La Juive ou Nu couché aux bras ouverts. »
Stéphanie Felten

À PROPOS DE l. a. SÉRIE 50MINUTES | Artistes
La série « Artistes » de l. a. assortment « 50MINUTES » aborde plus de cinquante artistes qui ont profondément marqué l’histoire de l’art, du Moyen Âge à nos jours. Chaque livre a été conçu à l. a. fois pour les passionnés d’art et pour les amateurs curieux d’en savoir davantage en peu de temps. Nos auteurs analysent avec précision les œuvres des plus grands artistes tout en laissant position à toutes les interprétations.

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Additional resources for Amedeo Modigliani, l'art du portrait et du nu: Entre tradition et avant-garde (Artistes, numéro 38)

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In doing so, it calls attention to the ways in which even the same works from the past are never quite the same in the new, Meiji context of the exhibitions. ” The nihonga category consolidated a variety of painting modes under a single rubric in order to posit them as viable alternatives to “Western painting,” yet over time, the category also fundamentally changed viewers’ understanding of the works. Up to this point, I have been advocating for the malleability of new categories and viewing contexts; at the same time, I maintain that such categories and frameworks fundamentally changed viewers’ experience of the work.

89 In another print (fig. 10 Art Gallery at the 1877 vitrine with the shibi ornament on the gate of the shrine where the exhibition is be- Domestic Industrial Exhibition. ing held shows a pointed awareness both of the power of the exhibition site and of Photograph. Amagasaki Board its constructedness as a spectacle of progress under the Meiji government. of Education, Hyōgo Prefecture. 11 Hiroshige III, Interior Display at the Art Gallery, Domestic Industrial Exhibition, Ueno, Tokyo. From the late 1870s to the early 1880s, Tokyo’s government-­sponsored exhibitions acquired a new site, the recently inaugurated Ueno Park, where Western-­style buildings were constructed.

25 Painters in the service of the shogunate and daimyo, by contrast, had a more conservative stylistic mandate and would have been discouraged from sharing their works with outside viewers; their paintings, like the affairs of the ruling elites and their families, were considered private matters. This connection between the diversification of the art market and the growth of a public sphere for viewing, evaluating, and purchasing painting in the eighteenth century onward is foretold in the fame of Hanabusa Itchō (1652–­1724) and his successors.

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Amedeo Modigliani, l'art du portrait et du nu: Entre tradition et avant-garde (Artistes, numéro 38) by 50 minutes, Coline Franceschetto

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