Pierre Cabanne

Marcel Duchamp

”Marcel Duchamp, one of this century's pioneer artists, moved his work through the retinal boundaries which had been established with impressionism into t field with impressionism into t field where language, thought and vision act upon one another, There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art...In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. 'You don't mean to do it,' he said.The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage--'a Hilarious Picture.' Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. 'In the end you lose interest, so I didn't feel the necessity to finish it.'He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, 'a new thought for that object.'The art community feels Duchamp's presence and his absence. He has changed the condition of being here.”--Jasper Johns, fromMarcel Duchamp: An Appreciation

Dialogues with Marcel Duchamp

With an introduction by Robert Motherwell and an appreciation by Jasper Johns "Marcel Duchamp, one of this century's pioneer artists, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art. . . "In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. 'You don't mean to do it,' he said. "The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage-'a Hilarious Picture.' Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. 'In the end you lose interest, so I didn't feel the necessity to finish it.' "He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, 'a new thought for that object.' "The art community feels Duchamp's presence and his absence. He has changed the condition of being here."--Jasper Johns, from Marcel Duchamp: An Appreciation

Dialogues With Marcel Duchamp

Robert Motherwell

Conversaciones con Marcel Duchamp

Another title from The Crown Art Library, the most useful monographs available on a wide range of significant artists. Each volume is written by an internationally recognized authority and is generously illustrated with full-color reproductions of the artist's paintings and two-color reproductions of sketches and line drawings.

Whistler

Brancusi is one of the most important sculptors of the 20th century. He worked in wood, marble and stone, creating works of pure shapes which often took their inspiration from nature.

Constantin Brancusi

Le Dictionnaire des Arts de Pierre Cabanne est le premier à paraître à l'aube du troisième millénaire. Il se veut donc le plus complet en ce qui concerne l'art du vingtième siècle, sans pour autant négliger le passé. L'auteur a également choisi de présenter dans cet abécédaire tous les acteurs de l'art : artistes, mouvements, mais aussi ses lieux, principaux historiens d'art, critiques et grands collectionneurs. Une somme de plusieurs milliers de notices permet au lecteur, qu'il soit professionnel ou simple amateur, de trouver rapidement les principale informations, qu'il s'agisse d'art sumérien ou d'art conceptuel... De plus, une utile bibliographie, présentée en fin de notice, guidera les recherches du passionné. Résolument informatif, mais néanmoins agrémenté de soixante-quatre pages couleur, le Dictionnaire des Arts de Pierre Cabanne saura vite trouver sa place dans toute bibliothèque.

Dictionnaire des arts

This monograph follows Van Gogh between 1886 and 1890, from Holland to Paris, where his palette was brightened with impressionistic colour, to Arles and his still-mysterious friendship with Gauguin.

Pierre Cabanne

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