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正在检索... Museum | Book | ND547.5.I4 G69 1993 | 1 | Stacks | 正在检索... 未知 | 正在检索... 不可借阅 |
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摘要
摘要
320 illustrations, 151 in full-color, with 16 pages of fold-outs
评论 (4)
出版社周刊评论
Both familiar and surprising, the paintings reproduced in this glorious album include celebrated pictures like Cezanne's Card Players as well as less well-known works by Renoir, Braque, Matisse, Van Gogh, Modigliani, Monet, Seurat, Manet, Chaim Soutine and others. Cataloguing an exhibit at the National Gallery of Art in Washington, D.C., the volume presents some 100 masterpieces from the Barnes Foundation in Merion, Pa. Highlights include Picasso's Acrobat and Young Harlequin , Gauguin's strong exotic portrait of a child, M. Loulou, and Henri Rousseau's Unpleasant Surprise, an allegory depicting a hunter shooting a bear. In the introductory essays Wattenmaker, an art historian with the Smithsonian, and other scholars pay homage to farsighted collector Albert Barnes (1872-1951), who exhibited European works alongside their African, Islamic and Native Amerian inspirations, thereby anticipating multiculturalism. BOMC alternate. (May) (c) Copyright PWxyz, LLC. All rights reserved
《书目》(Booklist)书评
Dr. Albert C. Barnes (1872-1951) was an independent and creative art collector and educator who acquired a number of French paintings that can only be described as modern masterpieces. Until this spring, these gems have been sequestered in the Barnes Foundation museum in Merion, Pennsylvania; access to this remarkable collection has been restricted and color reproductions banned. This beautifully printed volume, published in an unusually large quantity for an art book, finally makes these paintings available to the public, while a somewhat controversial traveling exhibition will grace museums in Washington, D.C.; Paris; Tokyo; and Philadelphia. Barnes' unusual life is the subject of the introductory essay, which describes his bold approach to collecting art and his commitment to quality education, particularly for African Americans. As interesting as Barnes' life is, the splendid color reproductions are this book's primary attraction, and they more than meet expectations. Here are fresh and glorious canvases by Renoir, Cezanne, Rousseau, Picasso, Modigliani, and Matisse, accompanied by essays by various art historians and curators. A genuine art publishing milestone, this is even being offered as a Book-of-the-Month Club alternate selection. ~--Donna Seaman
Choice 评论
This attractively produced exhibition catalog adheres to the traditional formula, with the customary acknowledgments followed by introductory essays, then a sequence of commentaries on the works shown. One preliminary essay presents a circumspect portrayal of Albert C. Barnes and his controversial views on art and education. A second piece, "Dr. Barnes in Paris," diplomatically reviews his activities as a collector. Although both texts are informative, they threaten to reduce Barnes's once-colorful presence on the artistic scene to polite monochromes. A team of recognized specialists have provided scholarly notices on the individual paintings. Each work is handsomely reproduced in color for the first time--too handsomely perhaps: the intensified hues in these plates and the numerous comparative illustrations (many of them also in the Barnes Collection) threaten to dim the look of the paintings actually on view. What is more, the inclusion of so rich an offering of collateral material, however valuable as historical record, may inadvertently leave museum visitors with some sense of dissatisfaction with the experience of the originals. It is nevertheless good to have these important works made at last available to a wide audience. Now, Barnes's aesthetic judgments can be measured against those of his peers. Kindred treasures acquired by Chester Dale for example, may be admired in neighboring galleries at the National Gallery, and similar comparisons will be invited in the further venues projected for the Barnes exhibition. Carefully documented. F. A. Trapp; emeritus, Amherst College
《图书馆杂志》(Library Journal )书评
The Barnes Foundation has gone public! A world tour of its collection is now in progress after a decades-long policy limiting access and even withholding a record of its holdings. In this companion volume to the tour, the foundation offers a generous look at its treasures of modern French painting. The first-time reproduction of these selected works marks this as a most important asset for students of modern art. As a bonus, an admirable array of scholars provide commentaries on the collection and insights into the personality of the collector, who was both remarkable and idiosyncratic. Although the exigencies of funding needs and legal revisions to the foundation brought about the publication of this volume, it is of greater value to the public at large: for both scholars and lay readers seeking the simple pleasure of seeing paintings too long kept away from too many. Highly recommended for all art collections.-- Paula Frosch, Metropolitan Museum of Art Lib., New York City (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.