PINTURA, COLLAGE, CULTURA DE MASAS: JOAN MIRO, 1919-1934 FELIX FANES

July 20, 2019

Pintura, Collage, Cultura De Masas: Joan Miro, 1919-1934 por  FELIX FANES

Titulo del libro: Pintura, Collage, Cultura De Masas: Joan Miro, 1919-1934

Autor: FELIX FANES

ISBN:

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Posters, light commercials, newspapers, illustrated magazines, photographs, movies, fill cities after World War II. The mechanization of the work is combined with an increase of the images made in series. No one can remain strangers. Nor the artists. And Miró is no exception. In contact with the new visual culture, his painting, and even his way of thinking, adapt to that impact. His work goes through the filter of the cartoon, the publicity or the daily press. The treatment of these materials - along with others, such as photography or cinema - modifies their perception of reality, but also their way of understanding artistic work. As a consequence, collage, the execution of objects, and even the distance from painting dominated his production between the 1920s and 1930s. In addressing these issues, Fèlix Fanés presents us with a Miró different from his usual image. In front of the "pure" and "uncontaminated" artist emerges a painter attentive to the reality of his time and ready to draw consequences from the contradiction between high culture and industrially produced popular culture. Posters, light commercials, newspapers, illustrated magazines, photographs, movies, fill cities after World War II. The mechanization of the work is combined with an increase of the images made in series. No one can remain strangers. Nor the artists. And Miró is no exception. In contact with the new visual culture, his painting, and even his way of thinking, adapt to that impact. His work goes through the filter of the cartoon, the publicity or the daily press. The treatment of these materials - along with others, such as photography or cinema - modifies their perception of reality, but also their way of understanding artistic work. As a consequence, collage, the execution of objects, and even the distance from painting dominated his production between the 1920s and 1930s. In addressing these issues, Fèlix Fanés presents us with a different look from his usual image. In front of the "pure" and "uncontaminated" artist emerges to painter attentive to the reality of his time and ready to draw consequences from the contradiction between high culture and industrially produced popular culture.