Matches in DBpedia 2016-04 for { <http://books.google.com/books?vid=ISBN0-8109-3707-7> ?p ?o }
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- books?vid=ISBN0-8109-3707-7 author "Livingstone, Marco".
- books?vid=ISBN0-8109-3707-7 date "1990".
- books?vid=ISBN0-8109-3707-7 first "Marco".
- books?vid=ISBN0-8109-3707-7 isCitedBy Big_Painting_No._6.
- books?vid=ISBN0-8109-3707-7 isCitedBy Blam_(Roy_Lichtenstein).
- books?vid=ISBN0-8109-3707-7 isCitedBy Brushstrokes_series.
- books?vid=ISBN0-8109-3707-7 isCitedBy Engagement_Ring_(Roy_Lichtenstein).
- books?vid=ISBN0-8109-3707-7 isCitedBy Golf_Ball.
- books?vid=ISBN0-8109-3707-7 isCitedBy Portrait_of_Madame_Cézanne.
- books?vid=ISBN0-8109-3707-7 isCitedBy Roto_Broil.
- books?vid=ISBN0-8109-3707-7 isbn "0-8109-3707-7".
- books?vid=ISBN0-8109-3707-7 last "Livingstone".
- books?vid=ISBN0-8109-3707-7 page "121".
- books?vid=ISBN0-8109-3707-7 page "204".
- books?vid=ISBN0-8109-3707-7 page "76".
- books?vid=ISBN0-8109-3707-7 publisher Harry_N._Abrams.
- books?vid=ISBN0-8109-3707-7 quote "In 1965–66 Lichtenstein painted a series of large canvases, such as Big Painting VI , in which he parodied the sweeping brushstrokes made by Abstract Expressionists with house-painter's brushes. The double paradox was that of representing an apparently spontaneous mark by rendering it in graphic language as a series of painstaking operations, but making the result look so effortless and mechanical that it might all have been printed by a single touch. As immediate as their impact, legibility of image and humour as any of his comic-strip paintings, these pictures pose serious questions about the artistic process and in particular about the interaction of idea, invention and execution.".
- books?vid=ISBN0-8109-3707-7 quote "The frontal and centralized presentation employed by Lichtenstein in early pairings of domestic objects, such as Roto Broil and Electric Cord of 1961 and Golf Ball , was of such assertive directness that it would have been dismissed in contemporary advertising as too crude and unsophisticated. In the context of painting, however, this projection of an image so as to be instantly apprehended as a whole – as a perceptual pattern or structure that in psychological terms would be labelled a Gestalt – was daring in its austere simplicity, anticipating the Minimalism of the mid 1960s. Together with an emphasis on the surface as a flat pattern of dots, brightly coloured shapes and black outlines, this fixing of the image to the centre stressed the painting as a static object.".
- books?vid=ISBN0-8109-3707-7 quote "The frontal and centralized presentation employed by Lichtenstein in early pairings of domestic objects, such as Roto Broil and Electric Cord of 1961 and Golf Ball , was of such assertive directness that it would have been dismissed in contemporary advertising as too crude and unsophisticated. In the context of painting, however, this projection of an image so as to be instantly apprehended as a whole – as a perceptual pattern or structure that in psychological terms would be labelled a Gestalt – was daring in its austere simplicity, anticipating the Minimalism of the mid 1960s. Together with an emphasis on the surface as a flat pattern of dots, brightly coloured shapes and black outlines, this fixing of the image to the centre stressed the painting as a static object.".
- books?vid=ISBN0-8109-3707-7 title "Pop Art: A Continuing History".
- books?vid=ISBN0-8109-3707-7 year "1990".