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Body Language

by John Elderfield

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241942,025 (3.5)None
A study of modern art and a primary subject of all art - the human face and the human body, with their infinite variety of gesture and expression. Published to accompany a section of the autumn centennial exhibitions (October 7th to February 1st 2000) at the Museum of Modern Art, New York, the book is organized into five sections - on faces, gestures, postures, pairs, and groups. More than 100 images are reproduced, drawn from all of the Museum's collections, mostly from the period 1880-1920, but with more recent examples which amplify the themes presented. The selection is eclectic and provocative. In addition to the introductory essay, short commentaries appear with paired pictures throughout the book - Toulouse-Lautrec with Garry Winogrand, Dorothea Lange with Kathe Kollwitz, Lewis Carroll with Balthus, suggesting unexpected relationships and ways of looking at these compelling images.… (more)
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This book is a themed collection of works from The Museum of Modern Art, New York. Images from the same or different mediums are placed on facing pages. There are 5 sections to the volume (1) Faces, (2) Gesture, (3) Posture, (4) Pairs, and (5) Groups. So for example there is a print from Lichtenstein “Drowning Girl” mirrored by an etching by Klinger called “Going Under.” The human face in each is centered and surrounded by water. This book has the advantage of presenting works not alone or in a gallery presentation but by theme and given a nice history of their genesis or the challenge of their interpretation. This book is an excellent way to introduce modern art pieces to an audience who might not otherwise be interested in broadening their artistic interests. I think the editors have done a wonderful thing in this edition. ( )
  sacredheart25 | May 21, 2012 |
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A study of modern art and a primary subject of all art - the human face and the human body, with their infinite variety of gesture and expression. Published to accompany a section of the autumn centennial exhibitions (October 7th to February 1st 2000) at the Museum of Modern Art, New York, the book is organized into five sections - on faces, gestures, postures, pairs, and groups. More than 100 images are reproduced, drawn from all of the Museum's collections, mostly from the period 1880-1920, but with more recent examples which amplify the themes presented. The selection is eclectic and provocative. In addition to the introductory essay, short commentaries appear with paired pictures throughout the book - Toulouse-Lautrec with Garry Winogrand, Dorothea Lange with Kathe Kollwitz, Lewis Carroll with Balthus, suggesting unexpected relationships and ways of looking at these compelling images.

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