Jackson Pollock : the figure of the fury
著者
書誌事項
Jackson Pollock : the figure of the fury
(Gamm, Giunti arte mostre musei)
Giunti, 2014
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
Catalog of an exhibition held at the Palazzo vecchio and Complesso di San Firenze, Florence, Italy, Apr. 16-July 27, 2014
Includes bibliographical references
内容説明・目次
内容説明
Exhibiting Jackson Pollock in Florence and comparing him to Michelangelo is the challenge that the authors and curators of this summer's Florentine exhibition faced. One originates in drawing that with all its strength attempts to respect the order of nature and of the divine. The other is based in the phenomenology of the unconscious and mystical geometry, the perfect representation of an expanding universe. What Michelangelo and Pollock shared was the inspired frenzy they both transmitted as they worked, a sort of agonistic trance that rendered them extraneous to the outer world. Already in the 16th century, the expression, "fury of the figure" was coined to describe the serpentine lines of several Michaelangelo's figures, often characterised by his non-finito technique, a formal approach that expressively exalts the conflict between perfect beauty and the bulk of the unformed.
In Pollock, the guiding concept adopted is instead that of the "figure of the fury", an idea that defines the vital, violent and powerful painting of the American artist whose drip-paintings astonished many of his contemporaries, just as Michelangelo's prodigious Last Judgement had amazed his contemporaries five centuries before.
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