Livre magnifique et images magnifiques d’un maître de la première heure de la couleur.
Livre d’une belle qualité, livré impeccablement.
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William Eggleston: The Democratic Forest - Selected Works ハードカバー – 2016/11/3
英語版
William Eggleston III
(編集)
- 本の長さ120ページ
- 言語英語
- 出版社Steidl Verlag
- 発売日2016/11/3
- 寸法29.8 x 1.5 x 31.1 cm
- ISBN-109783958292567
- ISBN-13978-3958292567
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登録情報
- ASIN : 3958292569
- 出版社 : Steidl Verlag (2016/11/3)
- 発売日 : 2016/11/3
- 言語 : 英語
- ハードカバー : 120ページ
- ISBN-10 : 9783958292567
- ISBN-13 : 978-3958292567
- 寸法 : 29.8 x 1.5 x 31.1 cm
- カスタマーレビュー:
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他の国からのトップレビュー
Jack
5つ星のうち5.0
this book is fun to look at
2019年12月31日にアメリカ合衆国でレビュー済みAmazonで購入
wonderful, mundane photographs in beautiful color. gets you thinking about how wonderful the ordinary is. art is a way of seeing and living.
Lina Moon
5つ星のうち5.0
Fascinante
2019年5月30日にスペインでレビュー済みAmazonで購入
Todavía estoy procesando las sensaciones que me produce WE.
Es fascinante, es difícil de analizar porque rompe todas las reglas, las retuerce y las devuelve en una imagen que en principio debía ser anodina y termina teniendo una magia indescriptible.
¿Y ahora que consejo doy?
Para los que ven mas allá de la técnica, dejarse llevar y entrar en el mundo que propone.
Es fascinante, es difícil de analizar porque rompe todas las reglas, las retuerce y las devuelve en una imagen que en principio debía ser anodina y termina teniendo una magia indescriptible.
¿Y ahora que consejo doy?
Para los que ven mas allá de la técnica, dejarse llevar y entrar en el mundo que propone.
Dt65
5つ星のうち5.0
Un libro da non perdere!
2018年5月8日にイタリアでレビュー済みAmazonで購入
Una scelta magistrale dei lavori di Eggleston. Insieme alla sua "Guida", un classico senza tempo, è un importante libro per chiunque voglia comprendere l'uso del colore nella fotografia. Stampa eccellente
David Rothwell
5つ星のうち5.0
the work may seem familiar and boring, but of course
2018年7月5日に英国でレビュー済みAmazonで購入
For any serious collector of the seminal work of William Eggleston, will know that this is no mere slight brushstroke of his oeuvre. William Eggleston famously said of his approach to photography; "I am at war with the obvious". This statement seems to amplify the banal, colourful, intrinsically linked subject matter. Whether it be a ceiling, a shopping mall carpark, views from restaurant windows or bottles of soda. These recurrent themes are what draws his followers of this dissenter to his artform.
An Eggleston photograph identifies every day, yet, he is at war with the obvious. A twist then, that may isolate some critics but, also support and strengthen their respective theory. That yes, the work may seem familiar and boring, but of course, they are right. He is one of many colour photographers; the list seemingly growing. Others have tried to copy his style but failed not having the required tenacity for such a thematic or, indeed a sense of the vernacular language of his photography. Just as the photographic language of Saul Leiter is a very different perspective, it is still an observation of everyday life. I've always been a fan of his colour palette, but also, I have been a fan of his early monochromatic work. However, when I view those photographs, I yearn for them to be in colour. Your sense of visual literacy becomes accustomed to a particular style, you learn to appreciate the obvious. Hence my affinity with William Eggleston, he is not an out and out documentarian in the photojournalistic vain, but he is a documentarian who has influenced many a photographer.
Beyond question, his style seems to influence a middle-class English photographer in the guise of Martin Parr, who has published work of colourful cakes and indeed a book aptly titled The Non-Conformists, seems to assert the close relationship with the obvious, these photographers both share. If you're looking for a post-modernist perspective on social documentary, then this book really doesn't define itself as such. However, if you're looking for a book that gives you an insightful perspective on post-modern colour photography, and how colour highlights certain eccentricities and characteristics of southern aristocracy then this is, definitely well worth seeking out.
An Eggleston photograph identifies every day, yet, he is at war with the obvious. A twist then, that may isolate some critics but, also support and strengthen their respective theory. That yes, the work may seem familiar and boring, but of course, they are right. He is one of many colour photographers; the list seemingly growing. Others have tried to copy his style but failed not having the required tenacity for such a thematic or, indeed a sense of the vernacular language of his photography. Just as the photographic language of Saul Leiter is a very different perspective, it is still an observation of everyday life. I've always been a fan of his colour palette, but also, I have been a fan of his early monochromatic work. However, when I view those photographs, I yearn for them to be in colour. Your sense of visual literacy becomes accustomed to a particular style, you learn to appreciate the obvious. Hence my affinity with William Eggleston, he is not an out and out documentarian in the photojournalistic vain, but he is a documentarian who has influenced many a photographer.
Beyond question, his style seems to influence a middle-class English photographer in the guise of Martin Parr, who has published work of colourful cakes and indeed a book aptly titled The Non-Conformists, seems to assert the close relationship with the obvious, these photographers both share. If you're looking for a post-modernist perspective on social documentary, then this book really doesn't define itself as such. However, if you're looking for a book that gives you an insightful perspective on post-modern colour photography, and how colour highlights certain eccentricities and characteristics of southern aristocracy then this is, definitely well worth seeking out.