The period 1851 to 1929 witnessed the rise of the major European avant-garde groups. This volume explores the aims and achievements of artists such as Monet, Gauguin, Picasso and Dali, in relation to urban capitalism and expansion, colonialism, nationalism and internationalism, and the museum.
The period 1851 to 1929 witnessed the rise of the major European avant-garde groups. This volume explores the aims and achievements of artists such as Monet, Gauguin, Picasso and Dali, in relation to urban capitalism and expansion, colonialism, nationalism and internationalism, and the museum.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Richard Brettell, formerly Director of the Dallas Museum, is currently an independent consultant to museums round the world. He also continues to undertake research and teaching duties at a variety of educational institutions.
Inhaltsangabe
* Introduction: The Great Exhibition of 1851, London. (Paris: the capital of modern art New technology The beginnings of modern art) * Part I: Realism to Surrealism. (Realism Impressionism Symbolism Post-Impressionism Neo-Impressionism Synthetism The Nabis The Fauves Expressionism Cubism Futurism Orphism Vorticism Suprematism/ Constructivism Neo-Plasticism Dada Purism Surrealism The '-ism' problem) * Part II: The Conditions for Modern Art * Chapter 1. Urban Capitalism. (Paris and the birth of the modern city Capitalist society The commodification of art The modern condition) * Chapter 2. Modernity, Representation, and the Accessible Image. (The art museum Temporary exhibitions Lithography Photography Conclusion) * Part III: The Artist's Response * Chapter 3. Representation, Vision, and 'Reality': The Art of Seeing. (The human eye Transparency and unmediated modernism Surface fetishism and unmediated modernism Photography and unmediated modernism Beyond the oil sketch Cubism) * Chapter 4. Image/Modernism and the Graphic Traffic. (The Pre-Raphaelite brotherhood Puvis de Chavannes and Gustave Moreau: Image/Modernism outside the Avant-Garde Image/Modernism outside France Exhibitions of the Avant-Garde Fragmentation, dislocation, and recombination) * Part IV Iconology * Introduction * Chapter 5. Sexuality and the Body. (Manet's bodies Modern art and pornography The nude and the modernist cycle of life The bathing nude The allegorical or non-sexual nude Colonialism and the nude: the troubled case of Gauguin The bride stripped bare Body parts and fragments) * Chapter 6. Social Class and Class Consciousness. (Seurat and Sunday on the Grande Jatte, 1884 Class issues in Modernist culture Portraiture Images of peasantry The worker and modern art) * Chapter 7. Anti-Iconography: Art Without 'Subject'. (Landscape painting Text and image Abstraction) * Chapter 8. Nationalism and Internationalism in Modern Art. (National identity Time and place Abstract art, spiritualism, and internationalism Nationalist landscape painting) * Afterword: The Private Institutionalization of Modern Art * Notes List of Illustrations Bibliographic Essay Timeline Index
* Introduction: The Great Exhibition of 1851, London. (Paris: the capital of modern art New technology The beginnings of modern art) * Part I: Realism to Surrealism. (Realism Impressionism Symbolism Post-Impressionism Neo-Impressionism Synthetism The Nabis The Fauves Expressionism Cubism Futurism Orphism Vorticism Suprematism/ Constructivism Neo-Plasticism Dada Purism Surrealism The '-ism' problem) * Part II: The Conditions for Modern Art * Chapter 1. Urban Capitalism. (Paris and the birth of the modern city Capitalist society The commodification of art The modern condition) * Chapter 2. Modernity, Representation, and the Accessible Image. (The art museum Temporary exhibitions Lithography Photography Conclusion) * Part III: The Artist's Response * Chapter 3. Representation, Vision, and 'Reality': The Art of Seeing. (The human eye Transparency and unmediated modernism Surface fetishism and unmediated modernism Photography and unmediated modernism Beyond the oil sketch Cubism) * Chapter 4. Image/Modernism and the Graphic Traffic. (The Pre-Raphaelite brotherhood Puvis de Chavannes and Gustave Moreau: Image/Modernism outside the Avant-Garde Image/Modernism outside France Exhibitions of the Avant-Garde Fragmentation, dislocation, and recombination) * Part IV Iconology * Introduction * Chapter 5. Sexuality and the Body. (Manet's bodies Modern art and pornography The nude and the modernist cycle of life The bathing nude The allegorical or non-sexual nude Colonialism and the nude: the troubled case of Gauguin The bride stripped bare Body parts and fragments) * Chapter 6. Social Class and Class Consciousness. (Seurat and Sunday on the Grande Jatte, 1884 Class issues in Modernist culture Portraiture Images of peasantry The worker and modern art) * Chapter 7. Anti-Iconography: Art Without 'Subject'. (Landscape painting Text and image Abstraction) * Chapter 8. Nationalism and Internationalism in Modern Art. (National identity Time and place Abstract art, spiritualism, and internationalism Nationalist landscape painting) * Afterword: The Private Institutionalization of Modern Art * Notes List of Illustrations Bibliographic Essay Timeline Index
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