Children's Book of Art ( PDFDrive )

ARTIST Friedensreich
PROFILE
Artist’s Hundertwasser
biography
“Paradise is here, only we are destroying it. I want
Friedensreich to show how simple it is to have paradise on Earth!”
Hundertwasser

1928: Born in

Vienna, Austria;
named Friedrich
Stowasser

1936-37: At the

age of 8, attended
Montessori school to
develop artistic talent

1948: Stayed only

three months at
Academy of Fine
Arts, Vienna

1949: At age 21,

changed name and
began traveling

1960: Visited Japan

for the first time

1973: At age 45,

visited New Zealand
and bought a farm as
a second home

2000: Died on board

the Queen Elizabeth 2
cruise liner

Artist’s
influences

Gustav Klimt—
Influenced by the
richly decorated
patterns and colors

Egon Schiele— The 30 Day Fax Painting, 1994, 60 x 51 in (151 x 130 cm)—Mixed media
Influenced by the
twisted body shapes

100

Modern art—Hundertwasser

The Austrian-born abstract artist The Ronald McDonald House, Essen, Germany, completed in 2005
Friedensreich Hundertwasser
created his own artistic theory, International architect

called “transautomatism.” The swirls break up the rigid Hundertwasser was not only a painter,
outline of the window. but also an architect and ecologist. He
This theory was all about the designed buildings around the world,
experience of the viewer, which all have his very distinctive
recognizing that different vibrant, irregular style. Often the
people see different things floors are unlevel, plants grow from
when looking at a picture. Your the roofs and walls, and sometimes
reaction to his pictures will be the windows are different shapes and
different than the reactions of sizes. Hundertwasser’s buildings have
your friends. Hundertwasser included a power plant, a church, and
public restrooms.
lived a bohemian lifestyle and

loved traveling. He rarely wore
a matching jacket and pants or
socks of the same color.

Hundertwasser was
passionate about nature
and believed that an artist
should get inspired by the
irregular patterns of nature.
He saw the spiral as a
symbol of the natural cycle of
life and death and used them
all over his paintings. There are no straight
lines and even all the windows on the cars
and buildings are drawn with flowing shapes.

This picture is made up of 30 letter-sized
FAXes. Notice all the bold, contrasting

colors that Hundertwasser has used. He
also often added gold and silver leaf
for a shimmering effect.

NOW YOU TRY...

Try drawing your own Danielle Taylor age 9 The public restrooms in Kawakawa, The Hundertwasser house,
picture inspired by
Hundertwasser. New Zealand, were designed by completed in 1985, is an apartment

Draw spirals and swirly
shapes—remember no
straight lines—and why not
add some plants growing
from the roof or out of the
walls. Use bold colors to
make an eye-catching
masterpiece.

Hundertwasser in 1999. building in Vienna, Austria.

101

ART STYLE Since the 1950s. ..

Modern art Cadmium
is a popular
The art of the 20th century often challenges our notions shade of red.
ACRYLIC Paint
of art, since art styles have taken many different directions.

Just like art of the past, the art can be experimental,

can question our ideas and our understanding of the
world, and is inspired by our lifestyle.

Pop artists In the 1950s, a new plastic-based paint called
Pop artists, such as acrylic became available. It was fast-drying, allowing
Andy Warhol (see artists to rework their paintings, add details, and
correct mistakes by painting over the top without
page 94), adapted the color underneath showing through.
images of popular
culture from

advertisements and
famous movie stars.

Marilyn Monroe, WWW
1b9y6A7n, dy Warhol www.dk.com
Popular Culture (1950–2000)

World Wide Web (1989–)

Culture in the 20th century changed In the 1970s, home computers became
dramatically with the popularity of movie stars and increasingly popular. The World Wide
pop stars, the desire to own material possessions, Web began in 1989 and artists used this
and the style of comic books and other media. to show their work to an international
audience and to sell to a global market.

Around the world, there are Four Knights, 1980, Photocopiers, fax machines, scanners,
museums that display just modern by Gilbert and George digital photography, and video are just
art, sponsored by public corporations some of the technologies that recent
or private collectors. Some of the artists have either used in their artworks or
buildings are works of art themselves. imitated the effects of in their art.

MUSEUMS of Modern Art NEW Technologies

102

Modern art—Modern art

These are just some of the many styles
modern artists still experiment with…

Installations Hélio Oiticica Conceptual art Piero Manzoni

Grande Núcleo, Artist’s Breath, 1960
NC3, NC4, NC6 The idea, or concept, of the art is more
Manifestação important than what the art looks like.
Ambiental n.2, Manzoni’s concept was to let a balloon
1960–1963 deflate to represent a passing breath.
Installation art is
the arrangement of Chuck Close
interesting materials to
fill a specific space— Linda, 1975–1976
such as Oiticica’s Chuck Close makes paintings of
colored boards photographs, by dividing each
suspended in a room. photograph into a grid, and then
copying the grid onto a canvas.
Photography This type of art is known as
Superrealism or Photorealism.

Performance art Ansel Adams

Jeffrey Pine, Sentinel Dome, c. 1940
Through experimenting with the taking
and developing of photographs, Adams
is known for making dramatic black and
white photographs that have sharpness
and depth.

Gilbert and George

Title unknown, 20th century
The work of performance art
combines theater and music.
In the late 1960s, Gilbert and
George featured in their work
wearing their trademark suits and
painted golden hands and faces
as “living sculptures.”

Video art Nam June Paik

Mars, 1990
Nam June Paik made interesting arrangements
of many television screens, showing repeated

recorded images of ordinary things.

103

Sculpture

104

Sculpture

Sculpture is the art of shaping three-dimensional
figures or designs to be free-standing or as decoration
in walls. Today, all kinds of industrial and everyday
materials are used, as well as the traditional techniques

such as stone carving or bronze casting.

105

ART STYLE

Carved The story begins...
in stone

People started carving things out of

stone more than 26,000 years ago.

The first sculptures were often of
important people—rulers,
gods, mythical creatures, or
ancestors. They were often

very big, because they

were designed to impress.

Leshan Giant Buddha,

8th century
This statue of a seated Buddha is
truly enormous—232 ft (71 m)
high, with shoulders 91 ft (28 m)
wide and feet 26 ft (8 m) long.
It was carved out of a cliff face
in Sichuan province, China. The
Buddha’s ears are made of wood
and attached to the head.

Sculpture—Carved in stone

Historians call
me the priest-king
because of my
fancy clothes and
jewelry, but no
one knows who
I really was.

The Willendorf Venus, Figure from Mohenjo The Sphinx, c.2520–2494 BCE

c.24,000 BCE Daro, c.2500 BCE This huge figure of a mythical creature
Some of the earliest stone sculptures with the body of a lion and a human
made in Europe were small figures Mohenjo Daro, situated in the Indus head guards the Pyramids at Giza in
of naked women. This one is named Valley in modern-day Pakistan. The Egypt. Egyptian figures are generally
after Willendorf, the Austrian village sculptures found there are among shown looking straight ahead.
where it was found. some of the earliest known.

The Lion Gate at Greece. The two carved lionesses Head of Nefertiti,
(left), which originally had metal
Mycenae c.1250 BCE heads, are probably guarding the c.1340 BCE
gateway. Nefertiti was the wife of
This impressive gateway is the entrance the pharaoh Akhenaten
to the ancient city of Mycenae in and was famous for her
beauty. The statue consists
of an inner limestone carving
covered in layers of plaster,
called stucco.

Easter Island
statue,

1250–1500
This is a moai—one
of hundreds of huge
figures that stand on
Easter Island in the
Pacific. Moai
represent the
islanders’ dead
ancestors.

Assyrian bull figure, Olmec head, 1400–400 BCE

713–706 BCE Standing over 13 ft (4 m) The Olmec people lived in Mexico
tall, this huge mythical creature is a from about 1400 to 400 BCE. They
lamassu—a winged bull with a human produced many enormous stone
head. It is one of a pair that once stood in sculptures of helmeted heads. The
the palace of Sargon II, in what is now Iraq. heads are probably Olmec rulers.

SCULPTOR PROFILE Qin Shi Huang was
obsessed with finding
The Terra-cotta the secret of immortality
(living forever).
Army sculptors
The discovery of the
In c. 246 BCE, the first emperor of China, Terra-cotta Army has
Qin Shi Huang, commissioned over 700,000 excited the world.
workers to begin constructing an elaborate It is now hailed as
the eighth wonder
cemetery for him. It contained an entire of the ancient world!
army sculpted out of clay, which would

enable Qin to rule another empire
in the afterlife.

In 1974, local farmers in Xian, China, were building
a well when they dug into a pit by accident. The pit
contained thousands of life-size terra-cotta warriors.
Further excavation was carried out and in 1976 two
more pits were discovered with even more figures.

108

Sculpture—The Terra-cotta Army sculptors

A grand production Each warrior could be up to
6½ ft (2 m) tall and weigh around
It took more than 700,000 local craftsmen and laborers to complete the Terra-cotta Army for
the emperor. In order to carry out a task on such a large scale, each worker had a specific 660 lbs (300 kg). There were
part to do, just like in a factory assembly line. Amazingly, each warrior sculpture was unique. different types of warrior, including
Height, uniform, and hairstyle varied depending on a warrior’s rank within the army. Each
sculpture was also very detailed—even the soles of their boots had tread patterns! crossbowmen, charioteers,
officers, and generals.

When they were NOW YOU TRY...
discovered in 1974,
some of the terra-cotta Qin Shi Huang was
warriors were broken just 13 years old when
or cracked. However, the construction of
most of them were the Terra-cotta Army
able to be restored. began!
Modern historians
have also learned that Look at this photo of
each warrior was put clay warrior models
together using separate made by children at
parts, rather than from the British Museum,
one piece of terra- London.
cotta. They even found
workshop names on Can you think of any
each separate part. sculptures you would
like to have built
for you? Models from a children’s workshop at the British Museum

109

HOW DID THEY DO THAT?
110
Wood carving timeline How to carve

Carving wood to make decorative features wood
or sculpting into figures has been a
tradition since ancient times. Wood can be sculpted by using a cutting
tool to shape it into a figure or decorative
c. 1327 BCE This golden
wooden statue of design. Skilled wood carvers around the
Tutankhamun riding
on the back of a black world have used wood for everything from
leopard was found in mask-making to house-building.
the boy pharaoh’s tomb,
representing his passage Totem pole style
into the afterlife.
Traditionally made by tribal
Date unknown The wooden Tiki groups of Native Americans
face carvings of the Maori people along the northwest coast, totem
of New Zealand might represent poles are made from red cedar
ancestors of a tribe, but mostly trees, which can grow up to 200 ft
are a decorative feature. (61 m) tall and are less likely to
decay than other wood. Totem
c. 1407 The five-story pagoda poles can vary in height
at the Itsukushima Jinja shrine from 10–100 ft (3 to 30
in Japan has a typical style of m) and their designs
large overhangs on the roofs. are complex. They represent
the ancestral myths specific to
particular families, showing the
family crest (which is often a forest
or mountain animal), an ancestoral
figure, and a mythical or partly
historical event.

1501–05 Tilman Here’s how to carve
Riemenschneider was a a totem pole
German sculptor who
worked mainly with wood, 1Prepare the wood
making intricate carvings for carving by
of figures. Many of his removing the bark,
works still exist in churches then draw the design
in Germany, such as this onto the wood. For
one of The Last Supper large totem poles, an
(detail shown). elbow adze is used to
cut out large chunks
17th century Grinling roughly.
Gibbons became well-
known in his day for his Sculpture—How to carve wood2A curved knife is
decorative woodwork, used to cut out
such as carvings of fruits,111 the details. Small
garlands, and animals. shavings are taken
away bit by bit to
1969 Louise Nevelson became work up the desired
famous for her sculpted and painted shape. The tool is
wooden walls of many boxes filled held with the blade
with abstract shapes and familiar coming out of the
objects, such as Mirror Image 1. bottom of the fist,
and the knife is
20th century pulled toward
Stephan Balkenhol the carver.
chisels his individual
figures from a single 3The
block of wood. The unsharpened
surfaces are rough back of the knife
with chisel marks, blade is dragged
which are left to over the wood. This
create shadows, will smooth and
making the figure polish the wood.
seem alive. He Once completed,
paints his the totem pole is
sculptures but painted and raised
leaves the skin into position.
unpainted.

ART STYLE

African sculpture
Mali

African sculptures are almost always inspired by the

human figure, but they can be made from many different

Ivory materials, including stone, animal horn, bronze,
Coast

Benin terra-cotta, and wood. Masks, heads, and figurines are

Nigeria Madagascar produced in many parts of Africa, each with its own

Equatorial regional style. These objects are not designed to
Guinea
be hung on a wall or exhibited in a museum, but

Dogon mask to be used, often in religious ceremonies.
The Dogon people
of Mali carve more Fang mask
than 80 types of This mask was
wooden mask. Some made by the
masks are thought to Fang people from
have magical powers, Equatorial Guinea.
while others represent Called a ngil, it
animals or people. features a long face

and is painted
with white
kaolin clay.

Figure of an Oba
This bronze statue depicts
an Oba, a ruler of the

Ife kingdom,
which flourished
in modern-day
Nigeria from
about 700 to
900 CE. The statue
is a bronze cast,
made from a clay
model of the figure.

112

Ibeji twin figure Sculpture—African sculpture
The Yoruba people
of Nigeria often have Madagascan
twins. If one twin dies, grave markers
a sculptor creates a The Mahafaly people
small wooden figure of Madagascar mark
called an ibeji graves with carved
(twin) to represent wooden posts and zebu
the lost child. The horns. The carvings
mother keeps the depict events in the
figure and cares for it. dead person’s life.

Dan masks These carved wooden masks
from Ivory Coast are made and worn by male
dancers. Once a dancer puts on a mask, the
Dan believe he is transformed into the spirit
or ancestor that the mask represents.

Romuald Hazoumé
This Benin artist creates
sculptures from junk,
such as old cans,
jugs, and video
boxes. Many
of his works
resemble
traditional
African
masks. This
one is called
Gbakounon.

113

HOW DID THEY DO THAT?

Parthenon frieze (detail)
447–432 BCE, 524 ft- (160 m-)

long—Marble

Marble timeline

The style of sculpting marble has developed through history,
but the skill of the sculptors has always been impressive.

447–432 BCE The Parthenon frieze c. 1st century BCE–c. 5th century CE 15th century Renaissance artist 17th century Gianlorenzo Bernini was
established the Classical Greek style During Roman times, the city of Donatello revived the Classical style a skillful Baroque sculptor whose work
of sculpting the perfect figure. Aphrodisias in Turkey was famous to create realistic statues such as included busts of kings and patrons.
for its sculpture school. this of St. John.
114

Sculpture – How to sculpt marble

How to sculpt

The Greek sculptor Phidias designed marble
and supervised the construction of
the Parthenon in Athens, including Many sculptors have used a crystalized
the sculptural frieze that went limestone rock known as marble for
around the top of the inner columns.
their sculptures. Marble is found in a
Sculptors would take great variety of colors and patterns and
months, if not years, to can be polished for a stunning effect.

complete their works, Here’s how to sculpt marble
slowly chipping away
with their hammers and Sculpting marble is a slow process. It requires a lot of
patience, slowly chipping away with a hammer and chisel
various chisels. until the block of marble takes the shape of the sculpture.

Classical 1Holding a heavy or point chisel
Greek style against the stone, the sculptor
swings the hammer at the chisel as
Between 480 BCE and 300 BCE, hard as possible. Then any chips
ancient Greek sculptors developed a are flicked out of the way, before
realistic and idealistic style now known as repositioning the chisel for the next
Classical. They would sculpt their idea of blow. In this way the shape of the
the “perfect” human figure, giving it natural sculpture is “roughed out.”
features and making it young and athletic.
Dressing the figures in flowing robes gave the 2A flat chisel is used to create the
impression of movement. The Greek sculptor details and refine the sculpture.
Phidias was influential in developing this style. Once finished, the ancient Greeks
would have used a stone called
an emery to smooth the chipped
surface,but today a sculptor might
use wet sandpaper. Finally, the
sculpture is polished for shine. The
Greeks used a softer stone for this.

c.1770s This expressive portrait bust of the Russian 1800–05 Aleijadinho had leprosy, but 1886–1901 Auguste Rodin broke new 1913 The simple style of Jacob Epstein’s
queen Catherine II is by Marie-Anne Collot, a pupil of managed to carve figures using a hammer ground with his unfinished and often Mother and Child was inspired by
the French Rococo sculptor Etienne-Maurice Falconet. and chisel tied to his fingerless hands. exaggerated style, as seen in The Storm. prehistoric and African sculpture.

115

SCULPTOR PROFILE
116
Artist’s Michelangelo Buonarroti
biography
Michelangelo “However rich I may have been,
Buonarroti I have always lived like a poor man.”

1475: Born in Tuscany, Michelangelo had a career in art that spanned more than 70 years! Michelangelo, c. 1540,
During this time he was considered the best artist in Europe. by Daniele da Volterra
Italy He worked tirelessly on scaffolding for over four years painting

1488: At age 13 he became the ceiling of the Sistine Chapel in Rome, Italy. Although

an artist’s apprentice, but a Michelangelo is famous for this fantastic fresco, he thought of
year later joined a sculptor’s
academy himself as a sculptor.

1490–1492: Worked in David is shown In the biblical story of David and
holding a sling Goliath, only David—then a young
Florence and came into in his hand,
contact with the powerful which he would shepherd boy—was brave
Medici family use to throw enough to fight the giant.
the rock that
1496–1501: Worked in killed the giant David
Goliath.
Rome as a sculptor Michelangelo finished sculpting the
biblical figure of David in 1504. The
1501: At age 26, started statue soon became a symbol of
strength for the newly formed
sculpting the biblical King Republic of Florence. David
David as a shepherd boy. was seen as a brave and
The finished sculpture was loyal fighter for freedom,
unveiled in Florence three which was the way the
years later citizens of Florence viewed
themselves.
1508–1512: Painted the

ceiling of the Sistine Chapel
in Rome

1564: Died at age 88

Artist’s
influences

Verrocchio’s David— This is an early sketch of David holding
Inspired by the sculpting his slingshot, which Michelangelo drew
of idealized figures of
male heroes for inspiration. Michelangelo believed
that every piece of stone had a sculpture
already in it, so it was up to the sculptor

to simply set free the figure within.

Detail Michelangelo The original David
was moved into
was very eager to show the Academy
the human form in
a lifelike way. Some Gallery in Florence
sources say he dissected in 1873. In 2003,
corpses so that he could the statue was
learn how the muscular cleaned with
system worked. His distilled
David was as detailed water to
and realistic as possible. remove the
500 years
In a break with tradition, of dirt.
Michelangelo wanted to
show David before the David’s perfect nose
fight, looking deep in
thought, rather than as Giorgio Vasari, Michelangelo’s biographer, tells an amusing
a hero after the battle. story about a nobleman who thought David’s nose was too
large. On hearing this, Michelangelo appeared to chisel away
at the nose, with bits of dust and marble falling to the floor.

The nobleman exclaimed that the nose was now perfect.
However, Michelangelo had in fact taken a handful of marble

dust from his pocket and had only pretended to chisel!

At over 17 ft (5 m) tall,
David is about three
times the height of
an adult person.

Sculpture—Michelangelo

117

SCULPTOR PROFILE
118
Sculptor’s Frédéric-Auguste Bartholdi
biography
Frédéric-Auguste “From her beacon-hand Glows world-wide welcome”
Bartholdi (from The New Colossus by Emma Lazarus)

1834: Born in The Frenchman Bartholdi first studied painting and Frédéric Auguste Bartholdi
architecture in Paris. However, he quickly realized that 1834–1904
Alsace, France sculpture was his main passion, which he focused on Bartholdi was very patriotic and the
for the rest of his life. He became well-known for Lion of Belfort was a memorial to the
1856: At age 22 town of Belfort’s brave defense during
two monumental sculptures: the Lion of Belfort, the Franco-German war (1870–71).
traveled to Egypt
and was inspired carved in sandstone, and the even larger Statue of
by the monumental Liberty, made of copper sheets. This statue was a gift
works he saw there from the French to the United States to celebrate their
friendship during the Revolutionary War (1775–1783).
1874–1886:
On Liberty’s crown there The statue, also known as
Construction of are seven rays, representing Liberty Enlightening the
Statue of Liberty the seven seas and seven
continents. World, was sculpted using
1879: Earned US wooden molds, with
an exterior shell of
patent for Statue of copper and an iron
Liberty interior structure.

1880: At age 46 Statue of Liberty

completed Lion of Designed by Bartholdi, the statue was
Belfort, based in constructed by Gustave Eiffel, who went
eastern France on to create the Eiffel Tower in Paris, France.
The statue stands on Liberty Island, New
1904: Died in York. As one of the biggest statues ever

Paris created, each year over 2 million visitors
come to take a look. It has become a
Artist’s symbol of freedom worldwide.
influences

Egyptian
sculpture—
Inspired by the large,
sturdy, and simple
qualities of Egyptian
monuments

Bertel Thorvaldsen Liberty holds Sculpture—Bartholdi
—Influenced by the a tablet with
realistic features of the date of the
the Lion Monument Declaration of
(1821), a grand Independence
memorial to Swiss engraved on
soldiers who died it—July 4,
during the French 1776.
Revolution
A monumental delivery
Facts and
figures After Gustave Eiffel constructed the statue, it was dismantled for
shipping across the Atlantic Ocean to New York, where it was
151 ft (46 m): reassembled and finally dedicated to the United States in 1886.
It took over 214 large wooden crates to transport all the pieces!
height from base to
torch The Statue of Liberty’s head and
shoulders were displayed at the
16 ft 5 in (5 m): Paris World’s Fair in June 1878.

length of hand Funding for constructing the
statue was running low but luckily
4 ft 6 in (1.4
m): length of nose showing Liberty’s head at the
fair stirred up lots of enthusiasm.
450,000 The French government decided
pounds (204
metric tons): to allow a lottery to take place
in order to raise more money
total weight so Bartholdi and Eiffel could
complete the statue.

On the base of the
statue, inscribed in
bronze, is a sonnet
by the poet Emma
Lazarus. The sonnet
is called The New
Colossus and was
written in 1883.

SCULPTOR Gustav Vigeland
PROFILE
Artist’s Norwegian sculptor, Gustav Vigeland, made a
Biography
Gustav Vigeland unique contract with the city of Oslo. He

1869: Born on a farm in was to be paid a salary and given a studio
to work in, and in return, all his work
Mandal, Norway belonged to the city. This was when

1888: At age 19 he began on his most ambitious

determined to succeed as project—Vigeland Sculpture Park.
a professional sculptor
and received support and
training from Norwegian
sculptor Brynjulf Bergslien

1891–1896: Visited other

European cities, including
Paris, where Auguste Rodin
greatly influenced him

1894–1896: Held his

own exhibitions in Norway
and built up a strong
reputation in the art world

1898–1902: Worked

on restoring the Nidaros
Cathedral, Trondheim

1921: At age 52 began

contract with the city of
Oslo—he would receive a
salary and his work would
belong to the city

1924: Moved into a new

studio in Kirkeveien and
spent the next 19 years
creating Frogner Park

1943: Died in Oslo

Artist’s A long, straight walkway runs through the middle of the park, from
influences the Main Gate, over the Bridge, past the fountain to the Wheel of Life.

Auguste Rodin Let’s go on a
—Inspired by the powerful journey of life
human forms and realistic
style created by Rodin, The main theme of Vigeland’s
as well as the intimate work is a human’s journey
relationship between from cradle to grave. These
man and woman sculptures (right) show an
(The Thinker, 1880–82, unborn baby, children playing,
Bronze) then adult life and parenthood.
Typically, Vigeland’s sculptures
120 show people engaged in ordinary
activities—as well as emotions
from love and happiness to
anger and grief.

Vigeland Sculpture Park Sculpture—Vigeland

In this park are more than 200 bronze and granite sculptures Wheel of Life
of nude figures. They were all designed by Gustav Vigeland,
then carved and cast by his team of highly skilled assistants. This bronze wheel is
The park covers 80 acres (320,000 square meters) and is part a garland of people
of the larger Frogner Park. The sculpture park was mainly holding on to each other.
built between 1939 and 1949. It represents life going
on forever. Vigeland was
pleased with his wheel. He
said, “I have never been as
accomplished as I am now.”

Vigeland Park
is the largest
sculpture park
made by a
single artist.

The Bridge

Fifty-eight sculptures
of men, women, and
children stand along the
edge of the Bridge. Here,
in pairs, groups, or alone,
they illustrate human
relationships and
emotions. Vast lanterns
stand between them.

These statues
are carved
in granite.

121



Sculpture—Abstract sculpture

David Smith Alexander Calder

Cubi XXVIII, 1965 Three Tentacles, 1975
The American sculptor David Smith created large, abstract The American sculptor Alexander Calder is famous
steel sculptures, inspired by the welded sculptures for inventing “mobiles,” named by the artist Marcel
of González and Picasso. His most famous works are Duchamp. Calder’s most recognizable mobiles are
his Cubi sculptures, made in the 1960s, which feature his later sculptures, which were carefully balanced
squares, rectangles, and other geometric shapes. Over compositions of wire and sheet metal that could
the years, Smith’s sculptures got bigger and bigger, and move with the slightest breeze.
they were designed to be displayed outside.
Julio González
Barbara Hepworth
Cactus Man No.1, 1939–40
Sculpture with Strings, González was a Spanish abstract
1939 (cast 1961) sculptor, famous for his welded
Hepworth’s sculptures were metal sculptures. He learned how
abstract, but often depicted to work with metal in his father’s
landscapes or human figures. forge and while in a car factory in
She would go on vacation with France, he learned oxyacetylene
other sculptors, including Henry welding—a mix of fuel gases and
Moore (see page 124), and oxygen in a welding torch.
share ideas.

Naum Gabo

Head of a Woman, c. 1917–20
Gabo was one of the first people
to make kinetic (moving) art. He
worked with industrial materials
such as wood, metals, glass,
and plastic and his work was
important to the development
of Constructivism in art. This
sculpture, called Head of a Woman,
is made from celluloid, one of the
earliest types of plastic.

123

SCULPTOR PROFILE

Artist’s Henry Moore
biography

Henry Moore

1898: Born in “All art should have a certain mystery and
should make demands on the spectator.”
Castleford, England
Henry Moore was born into a mining family in Yorkshire, England,
1917: At age 19 joined as one of eight children. At age 11, he decided that he wanted
to be a sculptor and went on to become the most famous British
the army, but was
injured in a gas attack sculptor of the 20th century. His work is more inspired by tribal
and ancient art than by the traditional ideas of beauty shown
1919: Received veteran’s
in Renaissance sculptures and paintings.
grant and became first
student of sculpture at Recurring reclining
Leeds College of Art figures
and Design
Many of Moore’s sculptures are of the
1924: Won a traveling female form in a reclining position. The
smooth curves of these sculptures have
scholarship and visited been linked to the rolling landscape
Northern Italy of Moore’s hometown in Yorkshire.
Another common theme in Moore’s
1932-9: At age work is that of mother and child. This
became an important part of his work
34 became Head of after his first child, Mary, was born.
Sculpture at the Chelsea
School of Art

1948: Won the

International Sculpture
Prize

1972: Established the

Henry Moore Trust

1986: Died, at age 88

Artist’s
influences

This piece is called Large Reclining Figure and was
displayed at Kew Gardens, London. Moore used
fiberglass for this sculpture as it is a lightweight
material and can be moved more easily than bronze.

Sumerian sculpture Later on in Moore’s
—Inspired by the career, bronze
ancient sculpture he rather than stone
studied in the British became his
Museum, London, UK favorite method for
creating large-scale
sculptures.

Jean Arp Reclining figure: Right Angles, 1981—Bronze
—Inspired by
spreading a sculpture
on a flat base and
splitting the figure

124



SCULPTOR Alberto Giacometti
PROFILE
Artist’s “I am not sculpting the human figure, Large Woman II,
biography but rather ‘the shadow that is cast.’” one of a series
Alberto Giacometti of four figures.

1901: Born in A Swiss sculptor and painter who worked in Paris
during the 20th century, Giacometti is best known for
Borgonovo, Switzerland, his very tall, very thin, figures. Early in his career,
the son of painter he was inspired by African and Oceanic art, and by
Giovanni Giacometti Cubism and Surrealism. Later, he began working from
nature, and for a time he was obsessed with creating
1922: At age 21 moved miniscule sculptures. Eventually, he moved into the
distinctive style we associate with his name.
to Paris to be an
apprentice of Émile- Before his first New Seeking
Antoine Bourdelle, a York exhibition, perfection
sculptor who worked Giacometti worked
for Auguste Rodin with Man Pointing (left) Giacometti was a perfectionist
all night. When it was who often remade his figures
1927-1935: Worked collected the next day, again and again. Even when he
the plaster was still wet. became enormously famous and
in a Surrealist style successful, he still destroyed
work he didn’t like, or put it
1941-1944: During aside to take up again years later.

WWII, stayed in
Switzerland before
returning to Paris

1947: Created Man

Pointing overnight for
his first exhibition

1962: At age 61, won

the acclaimed sculpture
prize with a show of
over 100 works at the
Venice Biennale

1966: Died of heart

disease

Artist’s
influences

Max Ernst Fragile
—Inspired by the new masterpiece
methods being used by
artists and sculptors in One of Giacometti’s
the Dada and Surrealism best-known pieces,
style (see page78) Man Pointing (1947)
is made of bronze
126 and stands 5¾ x 3 ft
(1.75 m x 90 cm) tall.

Most of Giacometti’s females are still,
while his males are active in some way.
This piece is called Walking Man (1960).

Sculpture—Giacometti

The artist’s view NOW YOU TRY:

Like all Giacometti’s figures, Play with Giacometti-like
Walking Man (1947) (left) has
arms, legs, and a body that are figures by forming skinny
much longer, thinner, and more
fragile than a real person. Many people or animals out of
experts believe that these frail,
lonely, tense figures reveal the pipe cleaners or other
artist’s sad view of the world.
flexible wire. Try making

some that are standing

still and some that are

reaching or bending. Kelly Foot, age 7

This sculpted
head (called
a bust) is the
artist’s friend
Elie Lotar.
Giacometti
didn’t want
his busts
to look
like their
subject, but
he did want
them to express
each subject’s
personality.

How is a bronze sculpture made?

To make a bronze figure, the “lost wax” method was used to

make Giacometti’s sculptures (this is Giacometti, right). Today,

this method starts by hand-making a clay model with all the

detail and texture that will appear on the bronze. When the clay

dries, it is covered with several coats of plaster or a liquid rubber

mixture that picks up every bit of this detail. 5Bronze is poured
into the mold,
1This is covered with an 2Hot wax is poured into Ceramic Wax filling the space
outer jacket (of plaster this mold in layers until left by the wax.
or resin). Together with the it makes a duplicate shape mold model
rubber, this is called the of the original model. Hot liquid
Wax rod bronze

“mother mold.” It is then

cut away from the clay. Pouring
cup

Wax

Mother 3The model is 4Inside 6Once the
mold turned and a high- bronze has
wax rods link it pressure sealed cooled, the
with a pouring oven, the wax shell is broken
cup. The model is is melted out. off, leaving the
then covered in a The rods allow sculpture ready
ceramic shell. the gases and for the artist to
air to escape. finish off.

127

HOW DID THEY DO THAT?

How to create

Land art

Land artists use materials such

as stone, branches, and leaves to
create their works, and often place them in a
natural setting. In the late 1960s this form of
art became very popular, and an avid interest
was taken in prehistoric earthworks. Some
artworks are in remote places and others
can only be seen from an aircraft.

Goldsworthy’s style

The British Land artist Andy Goldsworthy creates
his work in many different natural settings. The
materials he has used include leaves, pebbles,

twigs, sand, and even snow and ice. Many of
his works don’t exist for very long, crumbling
down or melting away. Goldsworthy considers

this to be the final stage of the work.

“Each work grows,

stays, decays...”

Land art timeline Sentinel at Asse Valley, French Alps, 2000

The mystery continues about just how prehistoric and ancient
people created their ground markings and boulder monuments.
Their purpose was linked with rituals rather than purely artistic.

c. 3000–1600 BCE The huge slabs that form c. 2560 BCE Thousands of workers toiled for c. 200 BCE–700 CE There are hundreds of large-
the English stone circle of Stonehenge were decades to quarry and prepare the stones scale ground markings in the Nazca Desert in Peru
hauled hundreds of miles from Wales. used to build the pyramids in Giza, Egypt. that are only visible from the air.

Sculpture – How to create Land art

Andy Goldsworthy experiments How “on earth”
with shapes and materials before
constructing his artworks in does he do it?
open ground.
Goldsworthy’s art follows a natural cycle
of construction and destruction:
$ natural materials from the
site location. The only tools used are
natural objects also found at the site.
$


!

something else found in nature, such


!







$ color photograph

"
"
left to the elements.

1970 Spiral Jetty is an earthwork by Robert 1983 Goldsworthy’s Sand Wiggle makes the most 1995 Christo and Jeanne-Claude have become famous for
Smithson. Made from basalt rocks and earth, of the natural materials of the site to capture the wrapping landmarks in materials. Their work has included
the coil is 1,500 ft (460 m) long. effects of early morning sunlight. the German parliament building, the Reichstag, in Berlin.

ART STYLE

Sculpture NOW

Sculptors today use new and even unusual materials

such as steel, textiles, chrome, and recycled objects.

There are many huge sculptures on display outside for

the public to see and some are sited in strange places,
such as on rooftops or beaches.

Jeff Koons

Balloon Dog (Yellow), 1994–2000
Like many sculptors, Koons
doesn t make his sculptures, but he
does come up with the ideas for
them. He is known for depicting

familiar, everyday objects often in
humorous ways. This oversized,
smooth, and shiny balloon
dog, made from reflective
stainless steel, is part of
his Celebration series
about familiar things
in childhood.

130

Anthony Gormley Sculpture—Sculpture NOW

Angel of the North, 1994–1998 The sculpture is
Many of Gormley’s works are based on molds taken 150 ft (46 m) tall
from his body. He also chooses effective locations for his and stands at the
works. The Angel of the North in Gateshead, UK, is said south entrance to
to be one of the most-viewed pieces of art in the world. Chihuahua city.

Sebastian

La Puerta de
Chihuahua, 1992
La Puerta de Chihuahua means “The Door to Chihuahua,”
Sebastian’s home state in Mexico. Sebastian uses steel, aluminum,
and cardboard to make his sculptures, creating striking geometric
shapes that symbolize the balance between object and space.

Donald Judd

Untitled, c. 1970s
Judd believed that art should
not represent anything. It
should stand on its own and
simply exist. Many of his
works used simple, often
repeated cubes or boxes to
explore space and the use
of space. He thinks of his
sculptures as “objects” made
using industrial processes.

Donald Judd’s sculptures are examples
of the idea of Minimal art.

Magdalena Anish Kapoor Cloud Gate is 33 ft (10 m) high and it is so-called
Abakanowicz because 80 percent of the reflection is the sky.
Cloud Gate, 1999-2005
Hurma (Crowd), 1994–95 Kapoor makes enormous
From Poland, Abakanowicz is metal sculptures with
famous for making human bodies, simple, curved shapes.
or parts of them, from many Some are brightly
different materials. At different colored, while others
periods, she has used rope, have mirror surfaces,
sackcloth, and metals. This group which make the
of 250 child and adult life-size reflected surroundings
headless figures represents part of the work, such
the helplessness of the as this sculpture in
human condition. Chicago. In this
sculpture, the viewers
also become part of the
art, since their reflection
can be seen.

131

SCULPTOR Is this the most The pear-shaped pink
PROFILE expensive piece diamond in the forehead
of contemporary
Sculptor’s biography art? Price tag: weighs 52.40 carats
Damien Hirst $75 million. and worth $6
million.
1965: Born in Bristol, The work cost
$21 million to For his mold,
England, UK produce and Hirst used a
was put on human skull
1986: At age 21, studied fine sale in 2007 thought to have
with an asking belonged to a
art at Goldsmiths, University of price of $75 35-year-old person,
London, for three years million. This would who lived between
be the highest price 1720 and 1810.
1988: Organized Freeze ever paid for a work by a
living artist. But Hirst has
exhibition of students’ art in a never revealed if the work
disused building in London’s has been sold.
docklands area

1991: At age 26, created

The Physical Impossibility
of Death in the Mind of
Someone Living—a shark in
formaldehyde that made him
famous (or infamous), and
has his first solo exhibition in
London

1991-2003: Work funded by

millionaire art collector Charles
Saatchi

1995: At age 30, won the

Turner Prize for Mother and
Child, Divided (1993)—a cow
and calf sliced in half

1998: Published autobiography

2007: Created For the Love of

God

2008: Held a two-day auction

of his work, called Beautiful
Inside my Head, selling directly
to the public. The sale raised
$167 million

Sculptor’s inspiration

Hirst was inspired by the
nightmarish work of the Irish
artist Francis Bacon. Bacon
shows twisted figures with
grotesque, smudged features.

Self Portrait, 1969 For the Love of God, 2007, Life-size human skull—Platinum, diamonds, and human teeth
by Francis Bacon

132

Sculpture—Hirst

Damien Hirst

“For the love of God, what are you going
to do next?” (Damien Hirst’s mother—This question, directed

at Hirst, is said to have inspired the title of the work opposite)

Hirst is a sculptor, installation artist, painter, and printmaker. He is both

famous and controversial: his works sell for enormous prices, and they
provoke debates about what is considered art. Is this art? You decide!

The Physical Impossibility of Death in the Mind of
Someone Living, 1991, Glass, steel, silicon, formaldehyde
solution, and shark

Sparkling skulls Obsession with death Spots Gelsemine, 2006,
Household gloss on canvas
Hirst said that the idea for his Death is a central theme in Hirst’s works.
work For the Love of God came For the Love of God is a platinum cast of a Aside from his three-dimensional work,
from seeing an Aztec skull at the real skull encrusted with 8,601 diamonds.
British Museum, London. The It is a kind of memento mori—an object Hirst has also created lots of paintings
Aztecs—the ruling empire in intended to remind us of death. This
central Mexico in the 15th and combines two ideas that Hirst is known of spots, such as this piece. The spot
16th centuries—made wooden for: death and the value of his work. He
masks covered in turquoise first became famous for a series of works paintings are made by a random process,
to represent their gods. in which dead animals (including a tiger
shark, a sheep, and a cow) are preserved— and not directly by Hirst himself. They can
sometimes having been dissected—in glass
cases filled with a solution containing a be instantly identified as his work though.
toxic, colorless gas called formaldehyde.

133

Get up close to
the real thing!

Many of the paintings and sculptures found in this
book are exhibited in art museums and galleries.
So why not plan a visit to see them for yourself?

Many countries have national or city museums
or museums of modern art and these are always
worth a visit. But keep your eyes open for local
art galleries exhibiting works by local artists, or
interesting sculpture in a nearby park, or a café
selling works of art.

No one knows who the next big name in art will
be. It could be the person who tries out a new style
and leads art in a new direction. Maybe one day
it could be you!

Cold Dark Matter:An Exploded View, 1991,
by Cornelia Parker—Pieces of an exploded shed and its contents



Glossary

Abstract an Blaue Reiter, Der a group of Expressionist Dada an early 20th century art movement that
art style of the artists, founded in 1911 in Germany by Vassily ridiculed traditional art forms and contemporary
20th century Kandinsky and Franz Marc. The name means culture by producing objects in unconventional
where subjects are “Blue Rider,” because they liked blue and horses. forms using unconventional methods, often
unrecognizable and designed to shock.
shapes and colors Book of Hours an illustrated medieval religious
represent artists’ book of prayers. Diptych a picture made of two panels hinged
emotions. together, typically as a religious altarpiece.
Bronze a metal alloy of copper and tin used
Academy a school in which for making statues. It also refers to a coppery- Engraving a method of cutting a design into
art is taught, or a group of artists brown color. a material, usually metal or wood using a sharp
who are experts in a particular tool. The surface is then inked and pressed
style of painting. Byzantine art the art of the eastern part of the onto paper.
Roman Empire between 330 and 1453. It was
Acrylic paint a plastic-based, fast- based on religious Christian themes and includes Etching a process where a needle is used to
drying paint invented in the 1950s. mosaics and icons. scratch a design into wax applied over a metal
plate. The plate is then dipped in acid, which
Action painting a style of abstract art where Calligraphy the art of lettering in a decorative creates grooves in the scratched areas. The wax
the “act” of painting becomes the subject. or ornamental style using a brush or pen. is then removed and ink is run over the plate to
collect in the grooves. The rest of the plate is
Apprentice a young person being taught the Charcoal burnt wood used for drawing. then wiped clean before paper is pressed onto it.
art of drawing, painting, and preparing materials
by a master painter. Chiaroscuro the creation of a strong contrast Exhibition a public showing of a piece or
of light and shade in painting to suggest depth collection of artwork.
Architect a person who designs buildings and and drama.
prepares exact drawings for a builder to follow. Expressionism an art style beginning at the
Classical art the art of the ancient Greeks and end of the 1800s that twisted and distorted the
Art Nouveau an art style beginning in the Romans. The style showed lifelike and detailed subject of the paintings to express an artist’s
1890s inspired by floral and stylized curvy motifs. poses and expressions. It is still used to describe inner emotions.
things that have a perfect form.
Automatism the technique of producing Fauvism an art style at the beginning of the
Surrealist art in a random and uncontrolled way Collage a picture or design that uses different 20th century with bold brushstrokes and vivid
accessing the unconscious mind. materials stuck to a flat surface to give it colors. The Fauves, meaning “wild beasts,” were
an interesting texture or three-dimensional a group of artists painting in this style.
Avant-garde a style of art that is starting a appearance.
new trend or direction and is innovative or Fresco the art of painting onto wet plaster
experimental. Composition the placing or arranging of on walls.
elements in an artwork to give a pleasing or
Baroque a style of art and architecture in particular effect. Futurism an art style of the early 20th century
Europe in the 17th century that was grand celebrating technology and new inventions.
and dramatic. Conceptual art an art style where the idea or
concept of the art is more important than what Glaze a thin, transparent coating brushed over
Biomorphism the painting of non- the art looks like. a painting to protect it or add coloring to part
geometric shapes to suggest living things. of the picture.
Constructivism a style of abstract modern art
Binder an ingredient in paint developed in Russia after the Revolution in 1917 Gold leaf very thin sheets of pure gold.
that makes the pigment to reflect the country’s new industrial society.
particles stick to each Gothic a western European style of
other and the paper Cubism an art style beginning in architecture, painting, and sculpture that
or canvas. the early 1900s that painted flourished between the 12th and 15th centuries.
subjects in a fragmented
manner, as if viewed from Gouache a heavy, opaque watercolor paint.
different angles. It was
started by Pablo Picasso Graffiti a drawing or inscription on a wall
and Georges Braque. made with spray paint.

136

Hieroglyphics an ancient Egyptian form of Photographic art an art style where artists Surrealism an art style beginning around
writing that used symbols and pictures. experiment with the taking and developing the 1920s that expressed thoughts of the
of photographs. unconscious mind through startling and
Illuminated manuscript a book or paper that confusing dreamlike paintings. Surreal means
has been decorated with richly colored drawings Pigment a powdered color that is mixed with “more than real.”
and occasionally silver or gold. a binder, such as gum, oil, or acrylic to make
paints, pastels, or chalks. Symbolism an art style beginning in the late
Impasto paint that has been put on thickly. 1800s that explored fantasy worlds and mystery.
Pop art an art style beginning in the mid-1900s
Impressionism term invented in 1874 to that was inspired by and mimicked popular Tempera a type of paint in which pigment is
describe a style of painting originating in culture. mixed with egg yolk. It was used before the
France in the 1860s. Impressionist painters often invention of oil paint.
painted outdoors, where they were interested Portraits the painting of people either as head
in the effects of light and color, and used rapid and shoulders or full-length. Self portraits are Terra-cotta a type of reddish-brown clay.
brushstrokes to gain an “impression” of the paintings by the artists of themselves.
subjects of their paintings. Tesserae small tiles used to make mosaics.
Postimpressionism the term used to describe
Installation art an arrangement of interesting an art style that followed Impressionism, Texture the surface quality or “feel” of an
materials to fill a specific space. responding to the style, taking it further, and artwork.
sometimes challenging its ideals.
Land art an art style where artists use natural Transautomatism an art style developed by
materials and often site their work in a Realism an art style beginning in the 1850s Friedensreich Hundertwasser that considers the
natural setting. showing life in a realistic way, often depicting viewer’s experiences toward the art.
everyday subjects.
Landscape a painting of scenery, such as Vanitas still-life paintings popular in the
mountains, rivers, trees, and fields. Regionalism an American art style that shows Netherlands during the 17th century, which
simple idyllic country life. often include symbols of death.
Mannerism an art style that developed
between 1520 and 1600. Renaissance the style of art and architecture Video art a form of visual art that uses moving
in Europe in the 15th and 16th centuries. The images. Unlike movies or television, it is not
Mosaic the art of creating images with small name means “rebirth” and describes the renewed necessarily intended as entertainment.
pieces of colored glass, stone, pottery, or other interest in Classical art.
hard material. Vignette an illustration without a proper
Rococo an elegant and light-hearted style of art border that fades into the background at
Mural a large painting made on a wall. and architecture popular in Europe during the its edges.
18th century.
Naïve art the work of artists with little or no Wash a thin, transparent layer of pigment,
formal art training. Romanticism a 19th century movement where used to cover large areas of background in
some artists painted in a bold, dramatic, or watercolor painting.
Neo-Impressionism an art style beginning emotional style.
in the 1880s also known as Pointillism that Watercolors
experimented with using small dots to build Sfumato meaning smoky, a technique where water-based paints with a
up a painting. sharp outlines are blurred and effects of light transparent color quality.
and shadow are created. Paintings created with these
Oil paint slow-drying paint made by mixing paints are also
pigments with an oil. Silkscreen a stenciling process where sections called watercolors.
of an illustration are blocked out of a screen of
Pastels a stick of color made from powdered silk or mesh so that when ink is applied, areas Western art the art of
pigment mixed with a binder, such as a resin are left blank. Further colors are then applied on the European countries,
or gum. top to build up a picture. and those countries that
share cultural traditions with
Performance art an art style where artists Still life a painting of objects such as fruit, Europe—such as the nations
combine their art with theater and music. furniture, and flowers. of North America.

Perspective the representation of three- Stucco a fine white plaster used for modeling Woodblock prints a print made by
carving designs into a block of wood. Ink
dimensional space on a two-dimensional surface. and molding. is applied to the raised surfaces of the wood
and transferred to paper.
Petroglyph an image drawn on a rock, as in Superrealism an art style where paintings
prehistoric or Aboriginal art. are made to look like photographs (also called
Photorealism).

137

Index Cassatt, Mary 62–63 Foujita, Tsuguji 17
Cézanne, Paul 46, 68, 70 Fouquet, Jean 31
Abakanowicz, Magdalena 131 Chardin, Jean-Simeon 62 Fragonard, Jean-Honoré 49
Adams, Ansel 103 Chełmonski, Józef 32 Frankenthaler, Helen 87
Alberti, Leon Battista 30 Close, Chuck 103 Gabo, Naum 123
Aleijadinho 115 Collot, Marie-Anne 115 Gainsborough, Thomas 49
Anguissola, Sofonisba 40 Colville, Alex 84 García, Joaquín Torres 69
Appel, Karel 41 Constable, John 33 Gaudi, Antoni 23
Arcimboldo, Giuseppe 17, 78 Cook, Beryl 75 Gauguin, Paul 64, 68
Arp, Jean 124 Courbet, Gustave 58 Giabologna 24
Ashevak, Kenojuak 84 Crook, Pamela J. 98 Giacometti, Alberto 126–127
Bacon, Francis 132 Cuba 97 Giacometti, Giovanni 126
Baishi, Qi 27, 53 da Cortona, Pietro 43 Gibbons, Grinling 111
Balkenhol, Stephen 111 da Silva, Maria Helena Vieira 87 Gilbert and George 102, 103
Banksy 96 Dali, Salvador 79 Giordano, Luca 93
Barbieri, Giovanni Francesco 43 Day, Paul 93 Goldsworthy, Andy 128–129
Bartholdi, Frédéric-Auguste 118–119 de Almeida, José Ferraz Júnior 98 Gongwang, Huang 27
Benton, Thomas Hart 88 de Chirico, Giorgio 78 González, Julio 123
Bernini, Gianlorenzo 114 de Goya, Francisco 50–51 Gormley, Anthony 131
Bigaud, Wilson 75 de Hooch, Pieter 43, 44 Greene, Daniel 63
Biggs, Emma 23 de Kooning, Willem 87 Grünewald, Matthias 31
Boccioni, Umberto 69 de La Tour, Maurice-Quentin 62 Guayasamín, Oswaldo 17
Bodé, Mark 97 de Saint-André, Simon Renard 46 Guttuso, Renato 92
Bombois, Camille 74 de Witte, Emanuel 44 Haisu, Liu 27
Borduas, Paul-Émile 87 Degas, Edgar 41, 59, 63, 86 Hammershøi, Vilhelm 38
Bosch, Hieronymus 78 del Verrocchio, Andrea 34 Haring, Keith 97
Botero, Fernando 41 Delaunay, Robert 76 Hartnett, William Michael 47
Botticelli, Sandro 31 della Francesa, Piero 25 Hassam, Childe 59
Boucher, François 49 Derain, André 33, 69 Hazoumé, Romuald 113
Bourdelle, Émile Antoine 126 di Bondone, Giotto 18 Hepworth, Barbara 122, 123
Bourgeois, Louise 16 do Amaral, Tarsila 39 Hiroshige, Ando 99
Brâncusi, Constantin 122 Donatello 30, 114 Hirst, Damien 132–133
Braque, Georges 47, 73 Duchamp, Marcel 78, 79 Hogarth, William 49
Brueghel (the Elder), Pieter 31, 32, 40 Dufy, Raoul 53 Hokusai, Katsushika 54–55
Brunelleschi, Filippo 30 Dürer, Albrecht 31, 52, 85 Holbein (the Younger), Hans 31
Buhler, Michel 32 Eiffel, Gustave 118, 119 Holzhandler, Dora, 75
Butler, Mildred 53 Ensor, James 78 Homer, Winslow 99
Caillebotte, Gustave 99 Epstein, Jacob 115 Hongshou, Chen 27
Calder, Alexander 123 Ernst, Max 79, 126 Hopper, Edward 67, 69
Canaletto 49 Escher, M. C. 84 Hughes, E. J. 93
Carr, Emily 33 Escif 97 Hundertwasser, Friedensreich 100–101
Carracci, Annibale 42 Falcone, Etienne-Maurice 115 Judd, Donald 131
Caruci, Jacopo 42 Fazi, Abu’l 99 Kandinsky, Wassily 86
Figari, Pedro 67 Kapoor, Anish 131

138

Klee, Paul 76–77 Murillo, Bartolomé 43 Smith, David 123
Klimt, Gustav 100 Muybridge, Eadweard 58 Solveig 96
Kline, Franz 87 Nevelson, Louise 111 Steer, Philip Wilson 59
Kollwitz, Kathe 92 Nevinson, Christopher Richard Wynne 92 Tanguy, Yves 79
Koons, Jeff 85, 130 Nolan, Sir Sidney 90–91 Thomson, Tom 33
Krasner, Lee 88 Oiticica, Hélio 103 Thorvaldsen, Bertel 119
Krøyer, Peder Severin 32 Paik, Nam June 103 Tiepolo, Giambattista 49
Landseer, Edwin 84 Passarotti, Bartolomeo 42 Titian 31
Larsson, Carl 19, 41 Pettoruti, Emilio 69 Tjangala, Keith Kaapa 21
Leonardo da Vinci 31, 34–35. 62 Phidias 30, 115 Tjapaltjarri, Clifford Possum 21
Liben, Yan 27 Picabia, Francis 80 Tsarouchis, Yannis 39
Lichtenstein, Ray 92 Picasso, Pablo 69, 72-73, 78, 80, 122, 123 Turner, Joseph 52–53
Limbourg brothers 28, 30 Pissarro, Camille 59 Uccello, Paolo 24
Lorrain, Claude Gellée 43 Pollard, James 67 van der Weyden, Rogier 31
Lowry, Laurence Stephen 75 Pollock, Jackson 88-89 van Dyck, Sir Anthony 43
Maar, Dora 72 Poussin, Nicolas 43, 48 van Elsen, Patries 96
Maclaim 97 Pozzo, Andrea 19 van Eyck, Jan 31, 36, 37, 38
Magritte, Rene 79 Rabuzin, Ivan 75 van Gogh, Vincent 46, 58, 64–65, 66
Malevich, Kasimir 86 Raphael 31, 42 van Wittel, Gaspar 42
Manet, Edouard 58 Ray, Man 79 Velázquez, Diego 40, 43, 50
Manzoni, Piero 103 Rayo, Omar 87 Vermeer, Jan 42, 44, 45
Marc, Franz 76, 85 Reeve, R. G. 67 Verocchio 116
Masaccio 30 Rego, Paula 66 Vigeland, Gustav 120–121
Masson, Andre 79 Reisser, Mirko 96 Vitruvius 35
Matisse, Henri 69, 70–71 Rembrandt van Rijn 38–39, 50 Volpi, Alfredo 87
Matta, Roberto 39 Renoir, Pierre-Auguste 16, 59 Wallis, Alfred 74
Maulbertsch, Franz Anton 49 Reynal, Jeanne 23 Warhol, Andy 94–95, 102
Meissonier Ernest 93 Riemenschneider, Tilman 111 Watteau, Jean-Antoine 48
Memling, Hans 82 Rivera, Diego 19, 23 Whistler, James McNeill 38
Meng, Wang 27 Roberts, Tom 59, 99 Wood, Grant 82–83
Michelangelo 19, 30, 116–117 Rodin, Auguste 115, 120, 122, 126 Wyspianski, Stanislaw 63
Millais, Sir J. E. 38 Rossetti, Dante Gabriel 52 Xi, Guo 27
Millet, Jean-François 64 Rothko, Mark 87 Xu, Biehong 85
Miró, Joan 80-81 Rousseau, Henri 74, 85, 90 Zan, Ni 27
Mondrian, Piet 86 Rubens, Sir Peter Paul 16, 43 Zeid, Fahrelnissa 87
Monet, Claude 59, 60-61 Sargent, John Singer 53, 67 Zhen, Wu 27
Moore, Henry Spencer 40, 124–125 Schiele, Egon 100 Zhengming, Wen 27
Morisot, Berthe 59 Schjerfbeck, Helene 17 Zimmermann, Johann Baptist 49
Morrisseau, Norval 24 Sebastian 131
Moses, Anna 74 Segall, Lasar 41
Muallâ, Fikret 47 Seisenegger, Jakob 40
Mucha, Alphonse 68 Sesshu, Toyo 32
Munch, Edvard 33, 69, 86 Signac, Paul 68
Münter, Gabriele 47 Sisley, Alfred 59

139

Acknowledgments

Dorling Kindersley would like to thank the photographers Vadas (c). 25 The Bridgeman Art Library: Antioch, Turkey Collection (tr); Christie’s Images/© DACS 2009 (tl); Francis G.
Will Heap and Jacqui Hurst, the models Catherine (tr); Brooklyn Museum of Art, New York, USA/Gift of the Mayer. © ADAGP, Paris and DACS, London 2009 (bl). Oya -
Greenwood (38, 52), Gertraud Goodwin (115), Martin Cheek Asian Art Council (tl); Musee Guimet, Paris, France/Bonora Bülent Eczacıbaı Collection: Chianti Bottle and Fish, Fikret
(22), Peter Murphy (28), and Madeleine Allison (19), and the (br); National Gallery, London, UK (bl). 26 The Bridgeman Muallâ, 1903 - 1967, gouache on paper, without frame: 33 x
designers Karen Hood, Poppy Joslin, and Sadie Thomas. Art Library: People’s Republic of China/Lauros / Giraudon 50 cm (br). 48 The Bridgeman Art Library: Louvre, Paris,
(cr). Corbis: Asian Art & Archaeology, Inc. (br). V&A France (cr). Corbis: Christie’s Images (br); Klaus Hackenberg/
The publisher would like to thank the following for Images, Victoria and Albert Museum: (l) (cra). 27 akg- zefa (tl). Getty Images: Manuel Cohen (bl); Digital Vision
their kind permission to reproduce their photographs: images: Nanjing, Academy of Fine Arts, photo Gilles Mermet (cra); Dorling Kindersley (tr); Stone (tc). 49 The Bridgeman
(Key: a-above; b-below/bottom; c-center; f-far; l-left; (tc). The Bridgeman Art Library: Christie’s Images (tl) (cl). Art Library: Aldo Crespi Collection, Milan, Italy (ca); Musee
r-right; t-top) Corbis: Artkey (tr); Burstein Collection (bl); © 2008. Image Lambinet, Versailles, France / Lauros / Giraudon (tr); National
copyright The Metropolitan Museum of Art/Art Resource (br). Gallery, London, UK (bl) (br); Stiftsmuseum, Klosterneuburg,
Front Endpapers: Alamy Images: Robert Harding Picture Photo Scala, Florence: © 2007. Image copyright The Austria (clb); Wieskirche, Wies, Germany (cb). Corbis: Alinari
Library Ltd l (Cave painting); Mary Evans Picture Library tr Metropolitan Museum of Art/Art Resource (cr). 28 The Archives (cr); The Gallery Collection (tl). 50 The Bridgeman
(Book of the dead); The Art Archive: Tate Gallery London/ Bridgeman Art Library: Musee Conde, Chantilly, France/ Art Library: Prado, Madrid (br); Dagli Orti (bl). Corbis:
Eileen Tweedy. © The Estate of Roy Lichtenstein/DACS 29 Giraudon (r) (ca) (cb). 29 Alamy Images: Leslie Garland Burstein Collection (bc); The Gallery Collection (tl). 50-51
ca (Lichtenstein); The Bridgeman Art Library: Antioch, Picture Library (cra). The Bridgeman Art Library: Musee The Bridgeman Art Library: Prado, Madrid (c). 51 The
Turkey (Mosaic); British Museum c (Turner); Brooklyn Conde, Chantilly, France/Giraudon (tl) (bl) (ca) (cb). Corbis: Bridgeman Art Library: Prado, Madrid (br). 52 Alamy
Museum of Art, New York, USA/Gift of the Asian Art Sion Touhig/Sygma (tr). 30 The Bridgeman Art Library: Images: Peter Barritt (cl). The Bridgeman Art Library:
Council b (Thangpa ); Christie’s Images c (Chinese painting); Musee Conde, Chantilly, France/Giraudon (cb). Corbis: British Museum (bc); Graphische Sammlung Albertina,
Graphische Sammlung Albertina, Vienna, Austria r (Durer); Araldo de Luca (ca) (ftr); Sandro Vannini (bl). DK Images: Vienna, Austria (bl). The Trustees of the British Museum:
National Gallery, London, UK bl (Gainsborough), tr (Lorrain); James McConnachie (c) Rough Guides (cr); Nick Nicholls © (br). 53 The Bridgeman Art Library: British Museum (t);
The Detroit Institute of Arts, USA/Gift of Dr. Ernest Stillman The British Museum (tr). Bianca Nogrady, www. Brooklyn Museum of Art, New York, USA/Purchased by
(Cassatt); Wieskirche, Wies, Germany t (Zimmermann); biancanogrady.com: (cl). 31 Alamy Images: The London special subscription (fbl); Galerie Daniel Malingue, Paris/©
Corbis: Bettmann bl (Van Gogh); Richard Broadwell/ Art Archive (cr). The Bridgeman Art Library: Musee ADAGP, Paris and DACS, London 2009 (fbr); Private Collection
Beateworks cr (Rock painting); Araldo de Luca b (Roman d’Unterlinden, Colmar, France (bc); National Gallery, London, / © Chris Beetles, London, U.K. (bl). Corbis: Artkey (br). 54
painting); Free Agents Limited r (Maori carving); The Gallery UK (br). Corbis: Francis G. Mayer (tl) (cl); The Gallery Corbis: Burstein Collection (t). Derrel Blain, http://www.
Collection cl (Sisley), l (Van der Weyden), t (Archimboldo); Collection (c); Ted Spiegel (tc). DK Images: John Heseltine flickr.com/people/dailyartmasomenos/ (b) 55 Corbis:
Hugh Sitton/zefa tl (African masks); Gideon Mendel c (tr). Getty Images: Bridgeman Art Library (bl). 32 The Burstein Collection (clb); Christie’s Images (tc); Historical
(Grave marker); Rudy Sulgan tl (Pagoda); Sandro Vannini Bridgeman Art Library: Private Collection (bl). Corbis: Picture Archive (fbr). Photolibrary: (br). 56-57 The Art
br (Masaccio); Getty Images: Ignacio Auzike l (Auzike); Burstein Collection (br); The Gallery Collection (tl). East Archive: Tate Gallery London/ Eileen Tweedy. © The Estate
Bridgeman Art Library tl (Boccioni); Photographer’s Choice News Poland: Laski Diffusion (tr). Getty Images: of Roy Lichtenstein/DACS 2009. 58 The Bridgeman Art
tl (Terracotta army); Brian McMorrow: bl (mosaic); © Tate, Bridgeman Art Library (cb). 33 The Bridgeman Art Library: Library: Nationalmuseum, Stockholm, Sweden (cr). Corbis:
London 2009: r (Sargent); Copyright the artist ca (Rego). National Gallery, London, UK (tr); Private Collection (bl). Alinari Archives (cl); Francis G. Mayer (bc); Hulton-Deutsch
Corbis: Albright-Knox Art Gallery. © ADAGP, Paris and DACS, Collection (c). iStockphoto.com: (t). 59 The Bridgeman
4 The Bridgeman Art Library: © Fernando Botero, London 2009 (tl). McMichael Art Collection: Gift of Art Library: Art Gallery of South Australia, Adelaide,
courtesy Marlborough Gallery, New York. 6 The Bridgeman Margaret Thomson Tweedale, McMichael Canadian Art Australia (bc); Florence Griswold Museum, Old Lyme,
Art Library: Private Collection) Lefevre Fine Art Ltd., London Collection, 1974.9.5 (cl). Photo Scala, Florence: © Munch Connecticut, USA/ Gift of the Hartford Steam Boiler
(c). 7 The Art Archive: Tate Gallery London / Eileen Museum/Munch - Ellingsen Group, BONO, Oslo/DACS, Inspection & Insurance Co. (br); Agnew’s, London, UK/©
Tweedy. © The Estate of Roy Lichtenstein/DACS 2009 (c). London 2009 (br). 34 Corbis: Gianni Dagli Orti (c). Getty Tate, London 2009 (bl); Musee Marmottan, Paris, France /
Corbis: Art on File/Stainless steel, 33 ft x 66 ft x 42 ft, Images: Hulton Archive (bl). 35 Corbis: Bettmann (tl) (tr); Giraudon (tl). Corbis: The Gallery Collection (tc) (c) (cl) (cr)
Millennium Park, Chicago/Courtesy of the City of Chicago Gianni Dagli Orti (bl) (cb). DK Images: Peter Chadwick (c). (tr). 60 Alamy Images: The London Art Archive (br). The
and Gladstone Gallery (b). Getty Images: Bridgeman Art Getty Images: Bridgeman Art Library (br). 36 Corbis: The Bridgeman Art Library: Musee d’Orsay, Paris, France/
Library (t). 8 iStockphoto.com: (cr) (br). 10-11 Getty Barnes Foundation, Merion Station Pennsylvania (bl). Getty Lauros/Giraudon (bc). Corbis: Edimédia (bl); The Gallery
Images: Bridgeman Art Library. 12 Alamy Images: Robert Images: Bridgeman Art Library (c) (bc). Photo Scala, Collection (clb). DK Images: ©Musee Marmottan photo:
Harding Picture Library Ltd (c); Chris Howes/Wild Places Florence: The National Gallery, London (tl). 37 Photo Scala, Susanna Price (ca) (tr). TopFoto.co.uk: Roger-Viollet (c). 61
Photography (tl); Martin Jenkinson (b). 13 Clair Carnegie/ Florence: The National Gallery, London (l) (br) (cr) (crb) (tr). The Bridgeman Art Library: Musee Marmottan, Paris,
Libyan Soup: (cl). Joe Carnegie/Libyan Soup: (tl) (tr). 38 The Bridgeman Art Library: The Iveagh Bequest, France/Giraudon (t). Corbis: The Gallery Collection (b);
Corbis: Richard Broadwell/Beateworks (b). 14 Alamy Kenwood House, London, UK (fbl); Private Collection / Louvre, Paris, France (bc); Louvre, Paris, France/Giraudon
Images: Mary Evans Picture Library (b); Photofrenetic (ca) Christie’s Images (fbr). Corbis: The Gallery Collection (bl) (br). 62 The Bridgeman Art Library: Louvre, Paris, France/
(cl). Science Photo Library: Michael Donne (tl) (c). 15 (br). 39 The Bridgeman Art Library: The Iveagh Bequest, Lauros/Giraudon (bl); The Detroit Institute of Arts, USA/Gift
Corbis: The Gallery Collection. 16 Louise Bourgeois Kenwood House, London, UK (tr) (crb) (tl). Corbis: Geoffrey of Dr. Ernest Stillman (clb). s.moore (tl) (b). 63 The
Studio: © DACS, London/VAGA, New York 2009. Tapestry Clements/© ADAGP, Paris and DACS, London 2009 (bc). Bridgeman Art Library: Private Collection/Peter Willi (fbl).
and aluminium 14’ x 12 x 12”. P 35.5 x 30.4 x 30.4 cm. Private Romulo Fialdini: (bl). © Yannis Tsarouchis Foundation: Corbis: Christie’s Images (t) (bl). East News Poland: Laski
collection, courtesy Xavier Hufkens Gallery, Brussels Photo: Yannis Tsarouchis, The Four Seasons, 1969. Oil on canvas, Diffusion (br). Daniel E. Greene, N.A.: (fbr). 64 The
Christopher Burke (cb). The Bridgeman Art Library: 156.5 x 295 cm. Private Collection (br). 40 akg-images: Bridgeman Art Library: Private Collection/Christie’s Images
Collection of the Prince of Liechtenstein, Schloss Vaduz (tr). Kunsthistorisches Museum (c). The Bridgeman Art Library: (c); Van Gogh Museum, Amsterdam, The Netherlands/
Corbis: Francis G. Mayer (cl); The Gallery Collection (br). 17 Museum Narodowe, Poznan, Poland (tr); Phillips, The Giraudon (clb) (bl). Corbis: Joe Epstein/Star Ledger (br); The
The Trustees of the British Museum: (cb). Corbis: International Fine Art Auctioneers (cl); Prado, Madrid, Spain/ Gallery Collection (fbl). Getty Images: Bridgeman Art
Christie’s Images. © DACS 2009 (tr); The Gallery Collection Giraudon (bl); Private Collection/© Henry Moore Foundation Library (fcl) (cl) (cr). http://www.myartnsoulstudio.com/:
(tl). Finnish National Gallery: © DACS 2009 (bl). (br). 41 The Bridgeman Art Library: © Fernando Botero, (fbr). 65 akg-images. Getty Images: Hulton Archive (fcr).
Fundacion Guayasamin Centro Cultural: (br). 18 Corbis: courtesy Marlborough Gallery, New York (tl); 66 The Bridgeman Art Library: Museum of Modern Art,
Alinari Archives (br); Araldo de Luca (bc) (r). Getty Images: Nationalmuseum, Stockholm, Sweden (tr); Private Collection/ New York, USA (b). © Tate, London 2009: Copyright the
Bridgeman Art Library (bl). madderstudio.com: (cla). 19 The Photo 9c) Lefevre Fine Art Ltd., London (br). Photo Scala, artist (t). 67 The Bridgeman Art Library: Musee d’Orsay,
Bridgeman Art Library: Detroit Industry, north wall, 1933, Florence: Mr. and Mrs. William B. Jaffe Fund.327.1955. © Paris, France / Lauros / Giraudon (cl). Corbis: Francis G.
detail. The Detroit Institute of Arts, USA. © 2009, Banco de 2009 Digital image, The Museum of Modern Art, New York/© Mayer (tl). Getty Images: Ignacio Auzike (bl); Bridgeman Art
Mexico Diego Rivera & Frida Kahlo Museums Trust, Mexico Karel Appel Foundation, Amsterdam (c). Lasar Segall, 1891 Library (br). © Tate, London 2009: (tr). 68 Corbis: The
D.F. / DACS (br); Vatican Museums and Galleries, Vatican City, Vilna - 1957 São Paulo, Collection of the Lasar Segall Gallery Collection (bl) (bc) (br); Historical Picture Archive/By
Italy (bl); Nationalmuseum, Stockholm, Sweden (bc/Larsson). Museum, São Paulo, National Institute of the Historical kind permission of the Mucha Foundation/The Bridgeman Art
Corbis: Araldo de Luca (bc/Pozzo); Mimmo Jodice (tr). Artistic Patrimony, Brazilian Ministry of Culture: (bl). 42 Library (t). 69 The Bridgeman Art Library: Galerie Daniel
madderstudio.com: (cra) (cb) (crb) (tc). 20 Alamy Images: The Bridgeman Art Library: Vatican Museums and Malingue, Paris/© DACS 2009 (br). Corbis: Burstein
imagebroker (cr); Ken Welsh (t). Corbis: Pam Gardner; Frank Galleries, Vatican City, Italy (tc); Museo Regionale, Messina, Collection (bl); Francis G. Mayer (tr); The Gallery
Lane Picture Agency (l); Penny Tweedie (br). 21 The Sicily, Italy (tr); Private Collection/Photo © Rafael Valls Collection/© ADAGP, Paris and DACS, London 2009 (tl).
Bridgeman Art Library: Aboriginal Arts Agency Ltd (r) (br); Gallery, London, UK (br); Schlossmuseum, Schloss Getty Images: Bridgeman Art Library (tc). Photo Scala,
Kaapa Tjampitjinpa, Goanna Dreaming (detail) Aboriginal Friedenstein, Gotha, Germany/Bildarchiv Foto Marburg (cl). Florence: (bc). 70 Alamy Images: The London Art Archive
Arts Agency Ltd (bc). Corbis: Hannah Mason (c); Penny Corbis: Alinari Archives (ca); Geoffrey Clements (cr); Hugh (cl). The Bridgeman Art Library: Rustem Pasa Camii
Tweedie. Aboriginal Arts Agency Ltd (bl); John Van Hasselt/ Rooney; Eye Ubiquitous (bl). 42-43 Corbis: Arcaid (mosque) Tekirdag, Istanbul, Turkey / © World Religions
Sygma (tc); Werner Forman (tl). 22 Alamy Images: The (columns). 43 The Bridgeman Art Library: Burghley House Photo Library (bl). Corbis: Bettmann (c). 70-71 © Succession
London Art Archive (tr). Corbis: Ludovic Maisant (fbl). Getty Collection, Lincolnshire, UK (c); Fitzwilliam Museum, H. Matisse/DACS 2009. Photo: © The Bridgeman Art
Images: De Agostini (fbr); Medioimages / Photodisc (br). University of Cambridge, UK (tl); Vatican Museums and Library/Musée National d’Art Moderne, Centre Pompidou,
Brian McMorrow: (bl). 23 Courtesy Anita Shapolsky Galleries, Vatican City, Italy (tr); Johnny van Haeften Gallery, Paris, France (t). 71 © Succession H. Matisse/DACS 2009.
Gallery, NY: Estate of Jeanne Reynal (br). Emma Biggs: London, UK (cl); Musee des Beaux-Arts, Pau, France/ Photo: © Tate, London 2009 (br). 72 The Bridgeman Art
photo: Tom Dunn (fbr). Corbis: Marco Simoni/Robert Giraudon (bc); Museum of Fine Arts, Budapest, Hungary (cr); Library: Portrait of Dora Maar, Musee Picasso, Paris,
Harding World Imagery (fbl). Julian Fong: (tr). Getty National Gallery, London, UK (br); Prado, Madrid, Spain/ France/© Succession Picasso/DACS 2009 (cr); Private
Images: Gavin Hellier/Robert Harding World Imagery (tl); Giraudon/ (tc); Private Collection/Christie’s Images (bl). 44 Collection/ Roger-Viollet, Paris (t). Corbis: Brooklyn Museum
Keystone. © 2009, Banco de Mexico Diego Rivera & Frida The Bridgeman Art Library: Rijksmuseum, Amsterdam, The (bl); Francis G. Mayer/© Succession Picasso/DACS 2009 (br);
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Bridgeman Art Library: Louvre, Paris, France/Lauros/ des Beaux-Arts, Marseille, France/Giraudon (tr); Museo Picasso/DACS 2009. 74 The Bridgeman Art Library: Kettle’s
Giraudon (l). Corbis: The Gallery Collection (tr). Courtesy Archeologico Nazionale, Naples, Italy (bl). Corbis: Bettmann Yard, University of Cambridge, UK (cr); Musee National d’Art
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and DACS, London 2009 (bl); Private Collection / Christie’s (cr) (bc) (br). 89 Corbis: Rudolph Burckhardt/Sygma/© The Library: (br). Getty Images: Hulton Archive (tl). 116-117
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Private Collection / © Michael Graham-Stewart (tl). Corbis: Enamel on composition board, 90.4 x 121.2 cm. Gift of Corbis: (tl); Hulton-Deutsch Collection (tr). 120 Alamy
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permission of the Cook Estate c/o Rogers, Coleridge & White Agnew’s, London, UK (bc). Getty Images: Hulton Archive (t). DACS 2009 (bc). Corbis: Philadelphia Museum of Art (bl).
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images: (tl). The Bridgeman Art Library: Private Collection composition board, 90.7 x 121.2 cm. Gift of Sunday Reed, DACS 2009 (tr). Corbis: Richard Klune/© DACS 2009 (cr).
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Collection, UK / Bonhams, London, UK/© DACS 2009 (c). Canadian War Museum, Ottawa, Canada (bl); Louvre, Paris, ADAGP, Paris and DACS, London 2009 (br); Private Collection
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Picture Desk/© ADAGP, Paris and DACS, London 2009 (br). Art Gallery of New South Wales, Sydney, Australia (bl); Musee DACS, London 2009 (r). Getty Images: AFP/© ADAGP/
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(c). 81 Corbis: Albright-Knox Art Gallery/© Succession Miro/ (bl). Agata Siegel: (cr). 102 The Bridgeman Art Library: Corbis: Adam Woolfit / Robert Harding World Imagery (bl);
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NY (br); Francis G. Mayer (bl). 83 The Bridgeman Art 103 The Bridgeman Art Library: Neue Nationalgalerie, Julian Calder (tr); Chris Hellier/© Andy Goldsworthy (bc);
Library: Fine Arts Museums of San Francisco, CA/ © Estate Berlin, Germany/Wolfgang Neeb (br); Private Collection George Steinmetz /© Estate of Robert Smithson/DACS,
of Grant Wood /DACS, London/VAGA, NY 2009 (b); Joslyn Courtesy Jay Jopling/White Cube (London) (cr). Corbis: London/VAGA, New York 2009 (bl). Getty Images: Wolfgang
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by VAGA, New York, NY (cl); David Howells (t). 84 Art César Oiticica Filho (tl). © Tate, London 2009: © ADAGP, Millennium Park, Chicago/Courtesy of the City of Chicago
Gallery of Hamilton: Gift of Dominion Foundries and Steel Paris and DACS, London 2009 (tr). 104-105 Corbis: Art on and Gladstone Gallery (br); Richard Klune/Courtesy Jay
Limited (Dofasco, 1957. © A.C. Fine Art Inc. (c). The File/Stainless steel, 33 ft x 66 ft x 42 ft, Millennium Park, Jopling/White Cube (London) (tl); Danny Lehman (tr). East
Bridgeman Art Library: Private Collection (bc). DK Chicago/Courtesy of the City of Chicago and Gladstone News Poland: Artur Starewicz/© Magdalena Abakanowicz,
Images: © Judith Miller / Dorling Kindersley / Philip Keith Gallery. 106 Corbis: Tibor Bognar (l); China Newsphoto/ courtesy Marlborough Gallery, New York (cl). Getty Images:
Private Collection (bl). © 2005 The M.C. Escher Company - Reuters (br). Getty Images: China Span (cr). 107 The Don Emnert/AFP/© Judd Foundation. Licensed by VAGA,
Holland.: (t). Permission Dorset Fine Arts: (br). 85 The Bridgeman Art Library: Louvre, Paris, France (bl). Corbis: New York/DACS, London 2009 (cr). 132 The Bridgeman Art
Bridgeman Art Library: Monasterio de El Escorial, El Walter Geiersperger (tl); Goldberg Diego/Sygma (br); Chris Library: © The Estate of Francis Bacon. All rights reserved.
Escorial, Spain / Giraudon (cr); Van der Heydt Museum, Hellier (cl) (c); Danny Lehman (bc); Stephanie Pilick/epa (cr); DACS 2009. (bl). Rex Features: photo: Prudence Cuming /
Wuppertal, Germany (tr). Corbis: Christie’s Images (br); The Werner Forman (tr). Getty Images: Robert Harding (tc). 108 Science Ltd /© Damien Hirst. All rights reserved, DACS 2009.
Gallery Collection (bl). Jeff Koons: (tl); 86 The Bridgeman Alamy Images: Interfoto (tr). Getty Images: National (c). 133 The Bridgeman Art Library: British Museum (bl).
Art Library: Private Collection/© ADAGP, Paris and DACS, Geographic (bl); Photodisc (r); Tom Stoddart Collection (cl). Corbis: Rune Hellestad (tl); Kurt Korman / Zefa (tr). Photo:
London 2009 (cr); State Russian Museum, St. Petersburg, 109 Alamy Images: Chris MacKenzie (bl). Getty Images: Prudence Cuming Associates Ltd Courtesy Jay Jopling /
Russia/ The Bridgeman Art Library (clb). Corbis: Francis G. Photographer’s Choice (t). Dominic Mooney: (br). 110 White Cube (London): Damien Hirst Gelsemine 2006
Mayer (tr); The Gallery Collection/© Munch Museum/Munch - Corbis: Bettmann (tl); Free Agents Limited (cl); Nico Household gloss on canvas 17x19in. (43.2 x 48.3 cm) (1 in.
Ellingsen Group, BONO, Oslo/DACS, London 2009 (cla); The Hermann/Westend61 (background); Rudy Sulgan (bl). DK spot). © Damien Hirst. All rights reserved, DACS 2009.
Gallery Collection/© Salvador Dali, Gala-Salvador Dali Images: Stephen Oliver (tr). 110-111 Photolibrary: Douglas Gelsemine. Household gloss on canvas 17x19in. (43.2 x 48.3
Foundation, DACS, London 2009 (bc); H. Armstrong Roberts Peebles (c). 111 The Bridgeman Art Library: Lyme Park, cm) (1 in.spot) (br). Photo: Prudence Cuming Associates:
(bl). Kunsthaus, Zurich/Lauros/Giraudon/© 2009 Mondrian/ Cheshire, UK/National Trust Photographic Library (cla); Damien Hirst, The Physical Impossibility of Death in the Mind
Holtzman Trust, c/o HCR International Warrenton, Virginia, Museum of Fine Arts, Houston, Texas, USA / Gift of The of Someone Living, 1991. Glass, steel, silicon, formaldehyde
USA (br). 87 Colección Patricia Phelps de Cisneros: Brown Foundation, Inc./© ARS, NY and DACS, London 2009 solution and shark, 2170 x 5420 x 1800 mm. © Damien Hirst.
VOLPI © Imaginação (bc); Albright-Knox Art Gallery/© (clb); On Loan to the Hamburg Kunsthalle, Hamburg, All rights reserved, DACS 2009 (c). 135 © Tate, London
SODRAC, Montreal and DACS, London 2009 (cr). Corbis: Germany (bl). Corbis: Adam Woolfitt (tl). 112 Corbis: Hugh 2009: Courtesy Cornelia Parker and Frith Street Gallery,
Albright-Knox Art Gallery/© ARS, NY and DACS, London Sitton/zefa (l); Kimbell Art Museum (bc). iStockphoto.com: London. 138 The Bridgeman Art Library: Musee d’Orsay,
2009 (c); Christie’s Images/© 1998 Kate Rothko Prizel & (cr/box outline). Photo Scala, Florence: © 2006. Musee de Paris, France / Lauros / Giraudon (fbl). Corbis: Burstein
Christopher Rothko ARS, NY and DACS, London 2009 (tc); © Quai Branly, photo Hughes Dubois (cr). 113 Corbis: Collection (fbr); Gianni Dagli Orti (bl); © The Andy Warhol
The Willem de Kooning Foundation, New York/ ARS, NY and Contemporary African Art Collection Limited (bl); Charles & Foundation for the Visual Arts (br). © Hundertwasser
DACS, London 2009 (cl). Idbury Prints Ltd: (tr). Mythos Josette Lenars (cl); Gideon Mendel (r); Smithsonian Institution Archive, Vienna: (bc). 139 The Bridgeman Art Library:
Art Gallery, www.magfc.org: Diego Fernando Chamorro E (tl) (bl/box outline). iStockphoto.com: (tl/box outline). 114 Museum of Modern Art, New York, USA (bl); Private
(br). Photo Scala, Florence: © 2009 Digital Image, The akg-images: Erich Lessing (fbl). Corbis: (fbr); (c) Jonathan Collection / Peter Willi (bc). Corbis: Burstein Collection (br);
Museum of Modern Art, New York (tl); Galerie Jeanne Blair (bl). 114-115 Corbis: (b/background); Giovanni Dagli Francis G. Mayer (fbl); Rune Hellestad Reproduced by
Bucher, Paris/© ADAGP, Paris and DACS, London 2009 (bl). Orti. 115 Corbis: (fbl); John Harper (tl); Julia Waterlow/Eye permission of the Henry Moore Foundation (fbr). 142-143
88 Corbis: Ted Spiegel (bl). Getty Images: photo: Martha Ubiquitous (bl); Yves Forestier/Sygma (br). iStockphoto. DK Images: © Musee Marmottan photo: Susanna Price
Holmes / Time Life Pictures (tl). Photo Scala, Florence: com: Milos Luzanin (cl). Photo Scala, Florence: ©2009
Digital Image, The Museum of Modern Art, New York/© The Digital Image, The Museum of Modern Art, New York/The All other images © Dorling Kindersley
Pollock-Krasner Foundation ARS, NY and DACS, London 2009 estate of Sir Jacob Epstein (fbr). 116 The Bridgeman Art For further information see: www.dkimages.com