Mainie Jellett and the modern movement in Ireland
著者
書誌事項
Mainie Jellett and the modern movement in Ireland
Yale University Press, 1991
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 205-213) and index
内容説明・目次
内容説明
"Mainie Jellett and the Modern Movement in Ireland" examines one of Ireland's most highly respected 20th-century exponents of Irish art. The book is being published to coincide with an exhibition at the Museum of Modern Art, Dublin, which runs from 9th December 1991 to 28th February 1992. Virtually unknown outside her own country, Mainie Jellett created a modern movement based on Cubist Abstraction which revolutionised art in Ireland. She gathered round her a school of like-minded artists, and turned them into a powerful influence on painting, design and thought; she established a regular annual art exhibition for the showing of modern paintings and sculpture, and she developed a vital and positive attitude in the country towards art during a period of isolation, difficulty and political torpor. Jellett came from the school of Cubist Abstraction which was led in France by Albert Gleizes and which is still only partly understood and appreciated. In contrast with the slow development of abstract painting in Britain, she regularly exhibited and sold abstract works in Dublin for ten years before the same kind of work was shown in London.
Bruce Arnold's examination of the work of Mainie Jellett raises questions about 20th-century painting, about the roots of abstraction, and about misconceptions over the history and later development of Cubism. He offers insights into Albert Gleizes and his followers which will undoubtedly provoke further debate and research.
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