Titel
Anthony Caro
Schrijver
Fenton, Terry
Taal
Engels
ISBN
9780500091722
Uitgever
Thames and Hudson
Prijs
€ 22,50(Excl. verzendkosten)
Bijzonderheden
1986, 128 pp., hardcover met stofomslag. Goed
Meer info
Net exemplaar met minimale gebruikssporen aan het stofomslag.
A visual presentation of more than 150 works by the sculptor Anthony Caro. Caro's achievements in developing ideas of constructed sculpture have given him an international eminence. This monograph traces his career from the early 50s when he worked as an assistant for Henry Moore. The main focus of the book is upon the sculptures created in iron and steel, the materials he worked with following his first visit to the United States in 1959. These materials and soldering as a rudimentary joining element, enabled Caro to create a new type of sculpture. His sculpture is simple, alluding to nothing and devoid of figurative suggestions. Rather, it is abstract art in its purest form. This purity is further emphasized by its placement directly on the ground rather than on a pedestal, contrary to the norms of traditional sculpture. Yet, at the same time, the sculptures seem to defy gravity, presenting themselves as "open works" in the footsteps of one of Caro's greatest influences, Picasso.
A visual presentation of more than 150 works by the sculptor Anthony Caro. Caro's achievements in developing ideas of constructed sculpture have given him an international eminence. This monograph traces his career from the early 50s when he worked as an assistant for Henry Moore. The main focus of the book is upon the sculptures created in iron and steel, the materials he worked with following his first visit to the United States in 1959. These materials and soldering as a rudimentary joining element, enabled Caro to create a new type of sculpture. His sculpture is simple, alluding to nothing and devoid of figurative suggestions. Rather, it is abstract art in its purest form. This purity is further emphasized by its placement directly on the ground rather than on a pedestal, contrary to the norms of traditional sculpture. Yet, at the same time, the sculptures seem to defy gravity, presenting themselves as "open works" in the footsteps of one of Caro's greatest influences, Picasso.
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