MARC Record from marc_columbia

LEADER: 04123cam a22004334a 4500
001 10995182
005 20151221134630.0
006 m o d
007 cr ||| ||a||
008 010406s2001 nyu obc 001 0 eng
010 $a00068727
020 $a0870999842 (hc.)
020 $a0870999850 (pbk.)
020 $a0300088507 (Yale University Press)
035 $a(MZA)B12950245
035 $a(OCoLC)895133472
035 $a(OCoLC)ocn895133472
035 $a(NNC)10995182
040 $aDLC$cDLC$dNNMM
043 $aa-cc---$an-us-ny
050 00 $aND1045$b.F66 2001
082 00 $a759.951/074/7471$221
100 1 $aFong, Wen.
245 10 $aBetween two cultures :$blate-nineteenth- and twentieth-century Chinese paintings from the Robert H. Ellsworth collection in the Metropolitan Museum of Art /$cWen C. Fong.
260 $aNew York :$bMetropolitan Museum of Art ;$aNew Haven :$bYale University Press,$cc2001.
300 $axi, 286 p. :$bill. (some col.), map ;$c31 cm.
505 00 $tMap of China -- $tIntroduction: East Meets West -- $g1.$tPainters in Shanghai and Guangdong -- $g2.$tThe Westernizers -- $g3.$tThree Great Traditionalists -- $g4.$tMainland Chinese Painting, 1950s-1980s -- $tEpilogue: Reflections on Chinese Art and History.
520 $a"Between Two Cultures, by Wen C. Fong, based on a selection of modern Chinese paintings from the Robert H. Ellsworth Collection in The Metropolitan Museum of Art, explores the crucial period from the 1860s to about 1980, when Chinese painting was transformed into a modern expression of its classical heritage. Unlike classical Chinese painting dating from before 1860, which has commanded in-depth study from a learned and sophisticated audience in the West, modern Chinese painting has been little explored. The first comprehensive assemblage in the West of paintings on this subject, the Robert H. Ellsworth Collection comprises works in the classical Chinese medium of ink on paper and in the traditional formats of scrolls, album leaves, and fans."--BOOK JACKET.
520 $aBased on modern Chinese paintings from the Robert H. Ellsworth Collection at the Metropolitan, this book explores the period from the 1860s to about 1980, when Chinese painting was transformed into a modern expression of its classical heritage, and deals with both traditionalist and modernizing Chinese masters from the comparative perspectives of East and West. Dr. Fong begins his exploration with the last revival of traditional Chinese art and the rise of a populist art in the late nineteenth and early twentieth century in Shanghai. His discussion continues with painters who absorbed the lessons of Western realism, which they viewed as part of Western science and technology. The work of traditionalist masters is also analyzed, followed by a discussion of painting by the second generation of artists and teachers, who developed their own schools of influence in their search for a new synthesis of Chinese and Western methods. -- Metropolitan Museum of Art website
500 $aPublished in conjunction with the exhibition "Nineteenth- and Twentieth-century Chinese paintings from the Robert H. Ellsworth collection in the Metropolitan Museum of Art," held at the Metropolitan Museum of Art, Jan.30 - Aug.19, 2001.
504 $aIncludes bibliographical references and index.
545 $aWen C. Fong is Douglas Dillon Curator Emeritus of Chinese Painting and Calligraphy at The Metropolitan Museum of Art and Professor Emeritus at Princeton University.
500 $aExhibition title: Nineteenth- and Twentieth-century Chinese paintings from the Robert H. Ellsworth collection in the Metropolitan Museum of Art.
600 10 $aEllsworth, Robert Hatfield,$d1929-2014$xArt collections$vExhibitions.
650 0 $aPainting, Chinese$y20th century$vExhibitions.
650 0 $aPainting, Chinese$yMing-Qing dynasties, 1368-1912$vExhibitions.
710 2 $aMetropolitan Museum of Art (New York, N.Y.)
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio10995182$zFull text from Watson Library Digital Collections
852 8 $blweb$hEBOOKS