The museum of scandals : art that shocked the world / Éléa Baucheron, Diane Routex.
Material type:
TextPublication details: Munich : Prestel, [2013]Description: 175 pages : illustrations (chiefly colour) ; 27 cmISBN: - 9783791348490 (hbk.)
- 3791348493 (hbk.)
- 709.04 PLA
| Item type | Current library | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|
| Standard Loan | LSAD Library Main Collection | 709.04 PLA (Browse shelf(Opens below)) | 1 | Checked out | 25/04/2022 | 39002100576561 |
Enhanced descriptions from Syndetics:
For centuries artists have been pushing the limits of society's norms, whether in the form of a new technique, subject matter, or message. In the 15th century, a fresco by Masaccio shocked audiences by playing with perspective to depict Adam and Eve's expulsion from Eden. Some 500 years later, Diego Rivera featured Lenin at the centre of Man at the Crossroads, commissioned by John D. Rockefeller Jr. for the lobby of New York's soon-to-be-completed Rockefeller Center; the mural was destroyed when it was deemed too radical to display. This fascinating volume presents dozens of paintings, prints, photographs, and installations that horrified audiences when they were created. Each example is presented in generous spreads with large colour reproductions and an insightful text exploring the artist's intentions and the piece's historical context. Most of these works no longer have the power to shock us, but a number of them still do. Together they offer a thought provoking exploration of the artist's duty to instigate, inspire, and move audiences toward new ways of thinking. AUTHOR: Elea Baucheron is an art historian who works as a researcher and writer in Paris. Diane Routex is a writer and publisher based in Paris. SELLING POINTS: Spanning the Renaissance to the 21st century, this riveting collection of scandalous works shows how the notion of "shocking" art has evolved and explores why and how artists continue to push the public's visual buttons. 100 colour illustrations
Includes index.
Sacrilege : The expulsion of Adam and Eve from Eden / Masaccio ; Saint Sebastian / Fra Bartolomeo ; The body of the dead Christ in the tomb / Hans Holbein the Younger ; The last judgment / Michelangelo ; The feast in the house of Levi / Veronese ; The martyrdom of Saint Maurice / El Greco ; The death of the Virgin / Caravaggio ; The ecstasy of Saint Teresa / Bernini ; Portrait of Innocent X / Diego of Silva Velazques ; Divina tragedia / Paul Chenavard ; Immersion (Piss Christ) / Andres Serrano ; Fire in my belly / David Wojnarowicz ; Icon caviar / Alexander Kosolapov ; La Nona Ora / Maurizio Cattelan ; Lost springs / Mounir Fatmi -- Political incorrectness : Los Caprichos / Francisco Goya ; The raft of the Medusa / Théodore Géricault ; Liberty leading the people (28 July 1830) / Eugéne Delacroix ; Gargantua / Honoré Daumier ; The gleaners / Jean-François Millet ; The execution of Emperor Maximilian / Édouard Manet ; The floor scrapers / Gustave Callebotte ; Balzac / Auguste Rodin ; Black cross / Kazimir Malevich ; Self-portrait as a soldier / Ernst Ludwig Kirchner ; Paths of glory / Christopher Richard Wynne Nevinson ; The trench / Otto Dix ; A pinch of snuff (The rabbi) / Marc Chagall ; One-thousand-yen note trial impound object: mask / Genpei Akasegawa ; Him / Maurizio Cattelan ; How to blow up two heads at once (ladies) / Yinka Shonibare MBE ; June 1994 / Ai Weiwei ; Art in the streets fresco / BLU -- Sexual scandals : Judith and Holofernes / Artemisia Gentileschi ; The nude and dressed maja / Francisco Goya ; The dream of the fisherman's wife / Katsushika Hokusai ; The Turkish bath / Jean-Auguste Dominique Ingres ; Olympia / Édouard Manet ; Origin of the world / Gustave Courbet ; La danse / Jean-Baptiste Carpeaux ; Reclining woman with legs apart / Egon Schiele ; Princess X / Constantin Brancusi ; Reclining nude / Amedeo Modigliani ; La chemise rose I / Tamara de Lempicka ; Doll / Hans Bellmer ; The guitar lesson / Balthus ; Christmas 70 / Otto Muehl ; Mad dog / Oleg Kulik ; Self-portrait / Robert Mapplethorpe ; Klara and Edda belly dancing, Berlin / Nan Goldin ; An epoch of clemency (Kissing policemen) / Blue Noses -- Transgressions : The night watch / Rembrandt ; A burial at Ornans / Gustave Courbet ; Rain, steam and speed / Joseph Mallord William Turner ; The killing / Auguste Préault ; Bal du Moulin de la Galetto / Auguste Renoir ; Les demoiselles d'Avignon / Pablo Picasso ; Fountain / Marcel Duchamp ; Volonté de puissance / Jean Dubuffet ; One: number 31, 1950 / Jackson Pollock ; Merde d'artiste number 31 / Piero Manzoni ; Photo-souvenir: le deux plateaux / Daniel Buren ; I like America and America likes me / Joseph Beuys ; Michael / Wim Delvoye ; For the love of God / Damien Hirst ; Helena / Marco Evaristti ; Balloon dog (magenta) / Jeff Koons ; Ruan / Xiao Yu ; Plastinated bodies / Gunther von Hagens ; The life is beautiful exhibition / Mr. Brainwash.
"Spanning the Renaissance to the 21st century, this riveting collection of scandalous works shows how the notion of "shocking" art has evolved and explores why and how artists continue to push the public's visual buttons. For centuries artists have been pushing the limits of society's norms, whether in the form of a new technique, subject matter, or message. In the 15th century, a fresco by Masaccio shocked audiences by playing with perspective to depict Adam and Eve's expulsion from Eden. Some 500 years later, Diego Rivera featured Lenin at the center of Man at the Crossroads, commissioned by John D. Rockefeller Jr. for the lobby of New York's soon-to-be-completed Rockefeller Center; the mural was destroyed when it was deemed too radical to display. This fascinating volume presents dozens of paintings, prints, photographs, and installations that horrified audiences when they were created. Each example is presented in generous spreads with large color reproductions and an insightful text exploring the artist's intentions and the piece's historical context. Most of these works no longer have the power to shock us, but a number of them still do. Together they offer a thought-provoking exploration of the artist's duty to instigate, inspire, and move audiences toward new ways of thinking"--amazon.com.