Between two cultures : late-nineteenth- and twentieth-century Chinese paintings from the Robert H. Ellsworth collection in the Metropolitan Museum of Art
著者
書誌事項
Between two cultures : late-nineteenth- and twentieth-century Chinese paintings from the Robert H. Ellsworth collection in the Metropolitan Museum of Art
Metropolitan Museum of Art , Yale University Press [distributor], c2001
- : hc
- : pbk
- : Yale
- タイトル別名
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Between two cultures : late 19th- and 20th-century Chinese paintings from the Robert H. Ellsworth collection in the Metropolitan Museum of Art
大学図書館所蔵 全6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
Published in conjunction with an exhibition held at the Metropolitan Museum of Art, New York, Jan. 30-Aug. 19, 2001
Includes bibliographical references (p. 269-279) and index
内容説明・目次
内容説明
During a crucial period from the 1860s to about 1980, Chinese painting was transformed into a modern expression of its classical heritage. This book draws on a selection of modern Chinese paintings from the Robert H. Ellsworth Collection at The Metropolitan Museum of Art in order to explore this period, discussing issues of modernity and creativity in late-nineteenth- and early-twentieth-century Chinese painting. Wen C. Fong deals with both traditionalist and modernising Chinese masters from the comparative perspective of East and West, traditional and modern. He begins by examining the last traditional 'revival', the epigraphic school of painting, and the rise of a populist art in the cosmopolitan city of Shanghai. Next he focuses on painters who absorbed the lessons of Western realism, in particular one artist who followed the Ecole des Beaux Arts and one who adapted the model of the Japanese Nihonga painters, and on three great traditionalist masters, two of whom were professional populist painters.
Finally he explores Chinese painting from about 1950 to 1980 by the second generation of artists and teachers in the national academies who, having been trained by traditionalist and Western-style teachers, developed their own schools of influence in their search for a new synthesis of Chinese and Western methods. Wen C. Fong is Douglas Dillon Curator Emeritus of Asian Art at The Metropolitan Museum of Art and former Edwards S. Sanford Professor of Art and Archaeology at Princeton University. He is also the author of Beyond Representation, published by Yale University Press.
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