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Robert Hughes (1) (1938–2012)

Autor(a) de The Fatal Shore

Para outros autores com o nome Robert Hughes, ver a página de desambiguação.

50+ Works 10,282 Membros 130 Críticas 14 Favorited

About the Author

Robert Hughes was born in Sydney, Australia on July 28, 1938. He studied art and architecture at the University of Sydney. He pursued art criticism mostly as a sideline while painting, writing poetry and serving as a cartoonist for the weekly intellectual journal The Observer. He left Australia and mostrar mais spent time in Italy before settling in London, where he became a well-known critical voice and wrote for several newspapers. He was chief art critic for Time magazine for over 30 years. He wrote several books including The Fatal Shore, American Visions: The Epic History of Art in America, Culture of Complaint: The Fraying of America, Things I Didn't Know, and Rome. He also hosted an eight-part documentary about the development of modernism from the Impressionists through Warhol entitled The Shock of the New. It was seen by more than 25 million viewers when it ran first on BBC and then on PBS. He also wrote a book by the same name about the series. He died after a long illness on August 6, 2012 at the age of 74. (Bowker Author Biography) mostrar menos
Image credit: Joyce Ravid


Obras por Robert Hughes

The Fatal Shore (1986) 3,897 exemplares
Barcelona (1991) 767 exemplares
Goya (2003) 488 exemplares
Barcelona the Great Enchantress (2004) 206 exemplares
Things I Didn't Know: A Memoir (2006) 195 exemplares
Lucian Freud: Paintings (1987) 158 exemplares
Amish: The Art Of The Quilt (1990) 107 exemplares
The art of Australia (1970) 98 exemplares
The Portable Magritte (2001) 72 exemplares
Frank Auerbach (1990) 57 exemplares
Heaven and Hell in Western Art (1968) 27 exemplares
The Portable Van Gogh (1900) 22 exemplares
The Portable Picasso (2003) 15 exemplares
The Portable Matisse (2002) 15 exemplares
The Portable Dalí (2003) 10 exemplares
Donald Friend (1965) 9 exemplares
Film 3 exemplares
Andrew Wyeth in Perspective (2012) 2 exemplares
Leesgids Australië (2003) 1 exemplar
Goya: Crazy Like a Genius (2008) 1 exemplar

Associated Works

Art After Modernism: Rethinking Representation (1984) — Contribuidor — 227 exemplares
The Balthazar Cookbook (2003) — Introdução, algumas edições121 exemplares
The Ern Malley Affair (1993) — Introdução, algumas edições; Posfácio, algumas edições104 exemplares
The complete paintings of Bruegel (1900) — Introdução, algumas edições60 exemplares
The Reluctant Republic (1993) — Introdução — 25 exemplares
The Best Australian Essays 2006 (2006) — Contribuidor — 23 exemplares
Art of the Real : Nine American Figurative Painters (1983) — Prefácio, algumas edições; Prefácio — 21 exemplares
The Best Australian Essays 2005 (2005) — Contribuidor — 17 exemplares


Conhecimento Comum



100 years of modern art
Docent-MFAStPete | 6 outras críticas | May 27, 2024 |
The Phillips Collection: 19th and 20th century art
Docent-MFAStPete | May 27, 2024 |
Docent-MFAStPete | 5 outras críticas | May 27, 2024 |
This is a fine little book, a pared down version of Hughes’s bigger volume, Barcelona. For those who do not require a blow-by-blow account of Catalan history, this smaller book is just the thing.

Hughes loves Barcelona and knows it well. That he often means “Catalunya” when he says “Barcelona” is not too important if you’re not reading this for academic reasons. Yet it surprised me to read some other errors and inaccuracies.

The worst of them was his use of Castilian for several Catalan place names. Espluges de Llobregat is not the only example, but the only one that comes to mind. Not only does he know the history of the suppression of the Catalan language that was endured during Franco years, he writes about it in the book.

Other little annoyances were his description of castells, the human castles. They are not built in rings. They are built on a central frame of four men who are then fortified by a great mass, called a pinya (pineapple), which might have a choreography, but looks simply like a mass to the observer. And the sardanes danced in front of the cathedral are not spontaneous in that they are held weekly for most of the year and although the occasional Catalan or tourist might be surprised by the performance, most people who dance or come to hear the music know to come.

I lived in Barcelona for a couple of years and it is my favorite city too, so I notice these little things. Then again, I very much appreciate Hughes's well-informed description of and affection for this wonderful city.
… (mais)
dvoratreis | 6 outras críticas | May 22, 2024 |



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