MATISSE, GAINSBOROUGH, AND MODERN ART BOOKS
The World of Matisse and Gainsborough in hard cover. Also Modern American Painters hard cover.

9 1/2" X 12 1/2"


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Text Found in Images:

Image 1:




Image 2:

Modern
American Painting
TIME-LIFE LIBRARY OF ART
The World of
Matisse
TIME-LIFE LIBRARY OF ART
The World of
Gainsborough
TIME-LIFE LIBRARY OF ART
Modern
American
Painting
TIME-LIFE
LIBRARY
OF
ART
The
World
of
Matisse
TIME-LIFE
LIBRARY
OF
ART
The
World
of
Gainsborough
TIME-LIFE
LIBRARY
OF
ART


Image 3:

CORRESPONDENTS: Elisabeth Kraemer (Bonn); Margot Hapgood, Dorothy
Bacon (London); Susan Jonas, Lucy T. Voulgaris (New York); Maria
Vincenza Aloisi, Josephine du Brusle (Paris); Ann Natanson (Rome).
Valuable assistance was also provided by Carolyn T. Chubet
(New York).
© 1970 Time-Life Books Inc. All rights reserved.
No part of this book may be reproduced in any form or by any electronic or
mechanical means, including information storage and retrieval devices or
systems, without prior written permission from the publisher, except that
reviewers may quote brief passages for reviews.
Fourth printing. Reprinted 1977.
Published simultaneously in Canada.
Library of Congress catalogue card number
CORRESPONDENTS:
Elisabeth
Kraemer
(Bonn); Margot
Hapgood,
Dorothy
Bacon
(London);
Susan
Jonas,
Lucy
Voulgaris
(New
York);
Maria
Vincenza
Aloisi,
Josephine
du
Brusle
(Paris);
Ann
Natanson
(Rome).
Valuable
assistance
was
also
provided
by
Carolyn
T.
Chubet
(New
York).
©
1970
Time-Life
Books
Inc.
All
rights
reserved.
No
part
of
this
book
may
be
reproduced
in
any
form
or
by
any
electronic
or
mechanical
means,
including
information
storage
and
retrieval
devices
or
systems,
without
prior
written
permission
from
the
publisher,
except
that
reviewers
may
quote
brief
passages
for
reviews.
Fourth
printing.
Reprinted
1977.
Published
simultaneously
in
Canada.
Library
of
Congress
catalogue
card
number


Image 4:

1932, Italy 's Fascist dictator, Benito
Mussolini, observed his 10th anniversary
was on display everywhere. One day as
Peter Blume, 26-year-old artist who was
is Italy on a Guggenheim grant stood
watching the light play on the ancient
Forum in Rome he decided to paint a
Mussolini's Fascism had meant to Italy.
The result, completed in 1937 after
The Eternal City (right).
the floor of the Colosseum above the heads
of two of his supporters, an unsavory
capitalist and a thug wearing the black
shirt of Mussolini's Fascist party On the
far left
Italy
's Fascist
dictator,
Benito
observed his
10th
anniversary
often
captioned
was
on
display
everywhere.
One day as
Peter
Blume,
26-year-old
artist
who
was
Italy
on a
Guggenheim
watching
the
light
play
on the
ancient
Forum in
Rome
he
decided
to paint a
picture
believed
Mussolini's
Fascism had
meant
to
Italy.
The result,
completed in
1937
after
Blume's
return
to the
United
was
The
Eternal City
(right).
The
painting
jack-in-the-
box
The
dictator
the
floor
of the
Colosseum
above
the
heads
of two of his
supporters,
an
unsavory
capitalist
and
wearing
the
black
shirt
of Mussolini's
Fascist
party
On the
far left


Image 5:

Willem de Kooning: Door to the River 1960
Willem U nlike de other Kooning members never of the totally New abandoned York School,
that the women in his works had large breasts solely
because his arm moved naturally in large curves
recognizable imagery. Figures of women elements
humor it is as much about texture, light and color as
he once said, "ought to have the emotion of concrete
about women Similarly, in paintings like Door to the
experience." His work is not representational,
River (above) the title seems
Willem
de
Kooning:
Door
River
1960
Willem
U
nlike
de
other
Kooning
members
never
of the
totally
New
abandoned
York
School,
emerge
he
paints
he
once
for
example,
that the
women
in
his
works
had
large
because
his
arm
moved
naturally
in large
curves
recognizable
Figures
of
women
elements
While his
painting
the
left has
traces
of savage
of landscape
often
appear
his
humor
it is as
much
about
texture,
light and
color
as
he
once
said,
"ought to
have
the
emotion
of
concrete
about
Similarly,
in
paintings
like
Door to the
experience."
His
work
River
the
title
seems


Image 6:

V
Reynolds' Society
of Artists
The founding of the Royal Academy was triumph of social and polit-
ally sponsored academy devoted to the improvement of British art had
long been discussed Other countries notably France had such useful
and decorative institutions why not Britain too? But during the time of
King George II who reigned until 1760, the Crown showed no interest
in art In fact the King was antagonistic He IS recorded his
thick German accent, "I hate bainting and boetry too!" When as saying he saw in an
engraving of one
V
Reynolds'
Society
of
Artists
The
founding
of
the
Royal
Academy
was
triumph
of
social
and
polit-
ical
intrigue,
the
18th
Century's
favorite
way
of getting
ally
sponsored
academy
devoted
to
the
improvement
of
British
art
had
long
been
discussed
Other
countries
notably
had
such
useful
and
decorative
institutions
why
not
Britain
too?
But
during
the
time of
King
George
II
who
reigned
until
1760,
the
Crown
showed
no
interest
in
art
fact
the
King
was
He
recorded
his
thick
German
"I
hate
bainting
and
boetry
too!" When
as
saying
he saw
in
an
engraving
of
one


Image 7:

always space for portraits In addition to
Gainsborough's works those of his rival
Sir Joshua Reynolds are also well
represented The family breakfast room
(opposite page) is hung chiefly with
paintings by Reynolds. The largest is his
portrait of the fourth Duke's daughter-in-
adorning an altar of love and clad in the
bridesmaid's gown she wore at the
wedding of King George III
In the sumptuous State Dining Room
(above) paintings of loftier personages seem
more fitting than family likenesses Here
portraits in the grand manner by the
Flemish master Van Dyck or a follower
-including one
old
masters
and
Abbey
objets
was
overflowing
but
there
with
was
always
space for
In
addition
to
works
those
of his
rival
Sir Joshua
Reynolds
are also
well
The family
breakfast
room
(opposite
page)
is hung
chiefly
with
paintings
by
The
largest
is his
portrait
of the
fourth
Duke's
daughter-in-
Lady
Elizabeth
Keppel,
shown
adorning
an
altar
of
love
and
clad
the
bridesmaid's
gown
she
wore
at the
wedding
of King
George
III
In the
sumptuous
State
Dining
Room
(above)
paintings
of loftier
personages
seem
more
fitting
than
family
likenesses
Here
portraits
in the
grand
manner
by
the
Flemish
master
Van
Dyck
or a follower
-including
one