Brancusi, Rosso, Man Ray framing sculpture ; [to coincide with the exhibition of the same name in Museum Boijmans Van Beuningen, Rotterdam, 8 February - 11 May 2014]
Brancusi, Rosso, Man Ray: framing sculpture ; [to coincide with the exhibition of the same name in Museum Boijmans Van Beuningen, Rotterdam, 8 February - 11 May 2014]

Next spring Museum Boijmans Van Beuningen is showing the work of three of the most influential artists of the twentieth century: Constantin Brancusi (1876-1957), Medardo Rosso (1858-1928) and Man Ray (1890-1976). Masterpieces will be flown in from top collections all over the world, including the Ce...

Ausführliche Beschreibung

Gespeichert in:
Bibliographische Detailangaben
Weitere Verfasser: Coelen, Peter van der 1961- (HerausgeberIn), Stocchi, Francesco (HerausgeberIn)
Format: Tagungsbericht Buch
Sprache:English
Veröffentlicht: Rotterdam Museum Boijmans van Beuningen 2014
Schlagworte:
Rosso, Medardo > 1858-1928
Brâncuşi, Constantin > 1876-1957
Ray, Man > 1890-1976
Plastik
Ausstellungskatalog > Museum Boijmans van Beuningen > 08.02.2014-11.05.2014 > Rotterdam
Online-Zugang:Inhaltsverzeichnis
Zusammenfassung:Next spring Museum Boijmans Van Beuningen is showing the work of three of the most influential artists of the twentieth century: Constantin Brancusi (1876-1957), Medardo Rosso (1858-1928) and Man Ray (1890-1976). Masterpieces will be flown in from top collections all over the world, including the Centre Pompidou in Paris and the Museum of Modern Art in New York. They include iconic sculptures never shown in the Netherlands, such as Brancusi's Princesse (1915-16) and Colonne sans fin (1918). Brancusi, Rosso and Man Ray all used photography in an innovative way in their work. A group of forty sculptures and more than sixty photographs that the artists took of their sculptures afford a unique insight into their artistic practice. After 1900 technical developments made photography easier and more affordable and therefore accessible to more people. At the beginning of the twentieth century, artists increasingly sought a new language of forms in photography. Brancusi, Rosso and Man Ray employed photography not so much as a means of recording their work as a way of making clear how observers should view and interpret their works. They used experimental techniques such as overexposure, innovative camera angles and blurring the foreground or background. Brancusi, for example, photographed his works in direct sunlight so that the polished bronze flashes dramatically in the photographs. He would not allow anyone else to photograph his sculptures so that the representation of his work remained entirely in his own hands. Rosso manipulated his photographic prints by re-photographing them, cutting and writing on them. While Man Ray embraced a more versatile approach, he explored a cameraless photography technique by placing objects directly onto the phographic paper. Exhibition: Museum Boijmans van Beuningen, Rotterdam, the Netherlands (8.2.-11.5.2014)
Beschreibung:271 S. zahlr. Ill.
ISBN:9789069182704

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