What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
In the tradition of Eats, Shoots & Leaves, art history with a sense of humor
Every year, millions of museum and gallery visitors ponder the modern art on display and secretly ask themselves, "Is this art?" A former director at London's Tate Gallery and now the BBC arts editor, Will Gompertz made it his mission to bring modern art's exciting history alive for everyone, explaining why an unmade bed or a pickled shark can be art—and why a five-year-old couldn't really do it. Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.
Saatchi, Charles 376–7 Saatchi, Maurice 376 Saint Laurent, Yves 196–7 St. Petersburg 166, 168, 169, 182 The Last Futurist Exhibition: Zero-Ten 176–7 Union of Youth 176 Salmon, André 135 Salon Cubists 143 Sgt. Pepper’s Lonely Hearts Club Band 310 Sartre, Jean-Paul 373 Satie, Erik 238, 239 Schoenberg, Arnold 158, 160, 214 Schopenhauer, Arthur 154, 158 Schröder, Truus 195 Schröder House, Utrecht 195–6 Schuffenecker, Émile 67 Schwitters, Kurt 228–30 Merzbau 228–9, 230 Revolving 228.
Green and yellow carpet that dominates the bottom left-hand corner. The arm movements of the attendant, Olympia and the frock-coated man all correspond, as does the alignment of their bodies. It is a picture that does not appear, at first, to be, as Leroy said, a “masterpiece of drawing, accuracy, finish,” but spend a few minutes looking at it and the rewards come thick and fast. It is not Cézanne at the height of his powers—that comes in a later chapter—but its intelligence and skill show Leroy.
She had carved a hole, and then added some guitar-like strings to create a sense of tension in the piece (an idea first introduced by Vladimir Tatlin, the Russian Constructivist, whom we will come to in Chapter 10). Pelagos is entirely abstract, but its smooth surface, gentle hollow, and pleasing shape provoke a very tangible feeling of harmony and beauty. In 1961 Hepworth was commissioned by the United Nations to produce a sculpture that would act as a symbol of peace to stand in the United.
Writers living in Paris as if they were fine wine, swilling them around his head, intoxicated by their power. In his early twenties he settled in Milan, Italy, and decided that what his newly adopted country really lacked was a place at the high table of modern art. An issue he swiftly resolved by coming up with a new concept called Futurism. Unlike previous movements, Futurism was overtly political from the start. The boisterous Marinetti wanted to change the world. And to a certain extent—for.
Erected in the name of Modernism. But Gropius avoided that pitfall; he was far too sensitive to line and form and balance. Instead his Masters’ houses have an intrinsic beauty (Gropius’s house was destroyed in the war), although Kandinsky on moving in painted his interior in multicolors. Gropius resigned in 1928 to pursue his architectural career in Berlin. His departure left a vacuum that was promptly filled by an increasingly radicalized student base with Communist sympathies. The politicians.