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Moderne Kunst 1851-1929: Kapitalismus und Repräsentation
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eBay-Artikelnr.:354951661744
Artikelmerkmale
- Artikelzustand
- ISBN
- 9780192842206
- Book Title
- Modern Art 1851-1929 : Capitalism and Representation
- Item Length
- 9.4in
- Publisher
- Oxford University Press, Incorporated
- Publication Year
- 1999
- Format
- Uk-Trade Paper
- Language
- English
- Item Height
- 0.6in
- Genre
- Art
- Topic
- American / General, European, History / General
- Item Width
- 6.6in
- Item Weight
- 22.6 Oz
- Number of Pages
- 272 Pages
Über dieses Produkt
Product Information
The period from 1851 to 1929 witnessed the rise of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. Richard R. Brettell's richly illustrated and innovative account of this period explores the aims and achievements--the beautiful and the bizarre--of artists such as Monet, Gauguin, Picasso, and Dali, in relation to urban capitalism and expansion, colonialism, nationalism and internationalism, and the museum. Tracing common themes of representation, imagination, perception, and sexuality, he presents a fresh approach to the fine art and photography of this remarkable era.
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
019284220x
ISBN-13
9780192842206
eBay Product ID (ePID)
16038267064
Product Key Features
Book Title
Modern Art 1851-1929 : Capitalism and Representation
Format
Uk-Trade Paper
Language
English
Topic
American / General, European, History / General
Publication Year
1999
Genre
Art
Number of Pages
272 Pages
Dimensions
Item Length
9.4in
Item Height
0.6in
Item Width
6.6in
Item Weight
22.6 Oz
Additional Product Features
Lc Classification Number
N6757.B74 1999
Reviews
"Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University"Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University"A history of modern art of the highest quality, informative and enthusiastic."--Françoise Cachin, Directeur des Musées de France"Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."--Foreword"Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of modern art."--John Russell, New York Times Book Review, "Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University "Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University "A history of modern art of the highest quality, informative and enthusiastic."--Françoise Cachin, Directeur des Musées de France "Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."--Foreword "Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of modern art."--John Russell,New York Times Book Review, "Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University "Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University "A history of modern art of the highest quality, informative and enthusiastic."--Franoise Cachin, Directeur des Muses de France "Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."--Foreword "Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of modern art."--John Russell, New York Times Book Review, "Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University "Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University "A history of modern art of the highest quality, informative and enthusiastic."--Françoise Cachin, Directeur des Musées de France "Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."-- Foreword "Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of modern art."--John Russell, New York Times Book Review, "Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University "Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University "A history of modern art of the highest quality, informative and enthusiastic."--Françoise Cachin, Directeur des Musées de France "Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."--Foreword "Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of modern art."--John Russell, New York Times Book Review, "Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University "Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University "A history of modern art of the highest quality, informative and enthusiastic."--Fran oise Cachin, Directeur des Mus es de France "Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."--Foreword "Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of modern art."--John Russell,New York Times Book Review
Table of Content
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 ArtChapter 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 ResponseChapter 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 IconologyIntroductionChapter 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 ArtNotes; 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-Impres sionism Synthetism The Nabis The Fauves Expressionism Cubism Futurism Orphism Vorticism Suprematism/Constr uctivism Neo-Plasticism Dada Purism Surrealism The '-ism' problem PART II: THE CONDITIONS FOR MODERN ART Chapter One: Urban Capitalism Paris and the birth of the modern city Capitalist society The commodification of art The modern condition Chapter Two: 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 A Summer Sunday on the Island of 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 (compiled by Julie Lawrence Cochran) Index
Copyright Date
1999
Lccn
00-500970
Intended Audience
English As a Second Language
Series
Oxford History of Art Ser.
Illustrated
Yes
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