History of Modern Art (Paper cover)
Pearson (Verlag)
978-0-13-606206-6 (ISBN)
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Elizabeth C. Mansfield is Associate Professor of art history at New York University. A scholar of modern European art and art historiography, her publications include books and articles on topics ranging from the origins of modernism to Picasso’sDemoiselles d’Avignon to the contemporary performance and body art of Orlan. A fellow at the National Humanities Center in 2008-09, she received the College Art Association’s Charles Rufus Morey book award in 2008 for Too Beautiful to Picture: Zeus, Myth, and Mimesis. (http://arthistory.as.nyu.edu/object/ElizabethMansfield.html) The late H.H. Arnason was a distinguished art historian, educator, and museum administrator who for many years was Vice President for Art Administration of the Solomon Guggenheim Museum in New York. He began his professional life in academia, teaching at Northwestern University, University of Chicago, and the University of Hawaii. From 1947 to 1961, Arnason was Professor and Chairman of the Department of Art at the University of Minnesota.
Foreword: A Short History of History of Modern Art
The Art of Looking
Experience and Interpretation
A Book That Moves with the Times
Preface
What’s New: Chapter-by-chapter revisions
1: The Origins of Modern Art
SOURCE: Théophile Gautier, preface to Mademoiselle de Maupin (1835)
Making Art and Artists: The Role of the Critic
A Marketplace for Art
CONTEXT: Modernity and Modernism the Modern Artist
What Does It Mean to Be an Artist?: From Academic
Emulation toward Romantic Originality
Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism
TECHNIQUE: Printmaking Techniques
History Painting
Landscape Painting
2: The Search for Truth: Early Photography, Realism, and Impressionism
New Ways of Seeing: Photography and its Influence
TECHNIQUE: Daguerreotype versus Calotype
Only the Truth: Realism
France
England
Seizing the Moment: Impressionism and the Avant-Garde
Manet and Whistler
From Realism to Impressionism
Nineteenth-Century Art in the United States
Early American Artists and the Hudson River School
New Styles and Techniques in Later Nineteenth-
SOURCE: Charles Baudelaire, from his “Salon of 1859”
Century American Art
3: Post-Impressionism
The Poetic Science of Color: Seurat and the Neo-Impressionists
Form and Nature: Paul Cézanne
Early Career and Relation to Impressionism
Later Career
The Triumph of Imagination: Symbolism
Reverie and Representation: Moreau, Puvis, and Redon
The Naive Art of Henri Rousseau
An Art Reborn: Rodin and Sculpture at the Fin-de-Siècle
Early Career and The Gates of Hell
The Burghers of Calais and Later Career
Exploring New Possibilities: Claudel and Rosso
Primitivism and the Avant-Garde: Gauguin and Van Gogh
Gauguin
SOURCE: Paul Gauguin, from Noa Noa (1893)
Van Gogh
SOURCE: Vincent van Gogh, from a letter to his brother Theo van Gogh, 6 August 1888
A New Generation of Prophets: The Nabis
Vuillard and Bonnard
Montmartre: At Home with the Avant-Garde
4: The Origins of Modern Architecture and Design
Safeguarding Culture: Revivalist Tendencies in Nineteenth-Century Architecture
American Classicism
European Eclecticism
“A Return to Simplicity”: The Arts and Crafts Movement and Experimental Architecture
Experiments in Synthesis: Modernism beside the Hearth
Palaces of Iron and Glass: The Influence of Industry
SOURCE: Joris-Karl Huysmans, from the review Le Fer, 1889
“Form Follows Function”: The Chicago School and the
Origins of the Skyscraper
SOURCE: Louis Sullivan, “The Tall Office Building Artistically Considered,” 1896
5: Art Nouveau and the Beginnings of Expressionism
With Beauty at the Reins of Industry: Aestheticism and Art Nouveau
Natural Forms for the Machine Age: The Art Nouveau
Aesthetic
Painting and Graphic Art
SOURCE: Sigmund Freud, from The Interpretation of Dreams, 1899
Architecture and Design
Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France
Scandinavia
Northern and Central Europe
6: The New Century: Experiments in Color and Form
Fauvism
“Purity of Means” in Practice: Henri Matisse’s Early Career
Earliest Works
Matisse’s Fauve Period
SOURCE: Charles Baudelaire, Invitation to the Voyage, 1857
The Influence of African Art
“Wild Beasts” Tamed: Derain, Vlaminck, and Dufy
Religious Art for a Modern Age: Georges Rouault
The Belle Époque on Film: the Lumière Brothers and Lartigue
CONTEXT: Early Motion Pictures
Modernism on a Grand Scale: Matisse’s Art after Fauvism
Forms of the Essential: Constantin Brancusi
7: Expressionism in Germany
From Romanticism to Expressionism: Corinth and Modersohn-Becker
SOURCE: Paula Modersohn-Becker, Letters and journal
Spanning the Divide between Romanticism and Expressionism: Die Brücke
Kirchner
TECHNIQUE: Woodcuts and Woodblock Prints
Nolde
Heckel, Müller, Pechstein, and Schmidt-Rottluff
Die Brücke’s Collapse
The Spiritual Dimension: Der Blaue Reiter
Kandinsky
Münter
Werefkin
Marc
Macke
Jawlensky
Klee
Feininger
Expressionist Sculpture
Self-Examination: Expressionism in Austria
Schiele
Kokoschka
CONTEXT: The German Empire
8: Cubism
Immersed in Tradition: Picasso’s Early Career
Barcelona and Madrid
Blue and Rose Periods
CONTEXT: Women as Patrons of the Avant-Garde
Les Demoiselles d’Avignon
Beyond Fauvism: Braque’s Early Career
“Two Mountain Climbers Roped Together”: Braque, Picasso, and the Development of Cubism
“Analytic Cubism,” 1909—11
“Synthetic Cubism,” 1912—14
TECHNIQUE: Collage
Constructed Spaces: Cubist Sculpture
Braque and Picasso
Archipenko
Duchamp-Villon
Lipchitz
Laurens
An Adaptable Idiom: Developments in Cubist Painting in Paris
Gris
Gleizes and Metzinger
Léger
Other Agendas: Orphism and Other Experimental Art in Paris, 1910—14
Duchamp
9: Early Twentieth-Century Architecture
Modernism in Harmony with Nature: Frank Lloyd
Wright
Early Houses
The Larkin Building
Mid-Career Crisis
Temples for the Modern City: American Classicism 1900—15
New Simplicity Versus Art Nouveau: Vienna Before World War I
Tradition and Innovation: The German Contribution to Modern Architecture
Behrens and Industrial Design
CONTEXT: The Human Machine: Modern Workspaces
Expressionism in Architecture
Toward the International Style: The Netherlands and Belgium
Berlage and Van de Velde
New Materials, New Visions: France in the Early
Twentieth Century
TECHNIQUE: Modern Materials
10: European Responses to Cubism
Fantasy Through Abstraction: Chagall and the Metaphysical School
Chagall
De Chirico and the Metaphysical School
“Running on Shrapnel”: Futurism in Italy
SOURCE: Filippo Tommaso Marinetti, from The Founding and Manifesto of Futurism
Balla
Bragaglia
Severini
Carrà
Boccioni
Sant’Elia
”Our Vortex is Not Afraid:” Wyndham Lewis and Vorticism
CONTEXT: The Omega Workshops
A World Ready for Change: The Avant-Garde in Russia
Larionov, Goncharova, and Rayonism
Popova and Cubo-Futurism
Malevich and Suprematism
El Lissitzky’s Prouns
TECHNIQUE: Axonometry
Kandinsky in the Early Soviet Period
Utopian Visions: Russian Constructivism
Innovations in Sculpture
Tatlin
Rodchenko
Stepanova and Rozanova
Pevsner, Gabo, and the Spread of Constructivism
11: Picturing the Wasteland: Western Europe during World War I
CONTEXT: The Art of Facial Prosthetics
The World Turned Upside Down: The Birth of Dada
The Cabaret Voltaire and Its Legacy
Arp
“Her Plumbing and Her Bridges”: Dada Comes to America
Duchamp’s Early Career
SOURCE: Anonymous (Marcel Duchamp), “The Richard Mutt Case”
Duchamp’s Later Career
Picabia
Man Ray and the American Avant-Garde
“Art is Dead”: Dada in Germany
Hausmann, Höch, and Heartfield
Schwitters
Ernst
Idealism and Disgust: The “New Objectivity” in Germany
Grosz
Dix
The Photography of Sander and Renger-Patzsch Beckmann
CONTEXT: Degenerate Art
12: Art in France after World War I
Eloquent Figuration: Les Maudits
Modigliani
Soutine
Utrillo
Dedication to Color: Matisse’s Later Career
Response to Cubism, 1914—16
Renewal of Coloristic Idiom, 1917—c. 1930
An Art of Essentials, c. 1930—54
CONTEXT: Matisse in Merion, Pennsylvania
Celebrating the Good Life: Dufy’s Later Career
Eclectic Mastery: Picasso’s Career after the War
Parade and Theatrical Themes
CONTEXT: Diaghilev’s Ballets Russes
Postwar Classicism
Cubism Continued
Sensuous Analysis: Braque’s Later Career
Austerity and Elegance: Léger, Le Corbusier, and Ozenfant
13: Clarity, Certainty, and Order: de Stijl and the Pursuit of Geometric Abstraction
The de Stijl Idea
SOURCE: De Stijl “Manifesto 1” (1918, published in de Stijl in 1922)
Mondrian: Seeking the Spiritual Through the Rational
Early Work
Neoplasticism
The Break with de Stijl
Van Doesburg, de Stijl, and Elementarism
De Stijl Realized: Sculpture and Architecture
Vantongerloo
Van ’t Hoff and Oud
Rietveld
Van Eesteren
14: Bauhaus and the Teaching of Modernism
Audacious Lightness: The Architecture of Gropius
The Building as Entity: The Bauhaus
SOURCE: Walter Gropius, from Bauhaus Manifesto (1919)
Bauhaus Dessau
The Vorkurs: Basis of the Bauhaus Curriculum
Moholy-Nagy
Josef Albers
Klee
Kandinsky
Die Werkmeistern: Craft Masters at the Bauhaus
Schlemmer
Stölzl
Breuer and Bayer
TECHNIQUE: Industry into Art into Industry
“The Core from which Everything Emanates”: International Constructivism and the Bauhaus
Gabo
Pevsner
Baumeister
From Bauhaus Dessau to Bauhaus U.S.A.
Mies van der Rohe
Bauhaus U.S.A.
15: Surrealism and Its Discontents
CONTEXT: Fetishism
Breton and the Background to Surrealism
The Two Strands of Surrealism
Political Context and Membership
CONTEXT: Trotsky and International Socialism between the Wars
“Art is a Fruit”: Arp’s Later Career
Hybrid Menageries: Ernst’s Surrealist Techniques
“Night, Music, and Stars”: Miró and Organic–Abstract
Surrealism
Methodical Anarchy: André Masson
Enigmatic Landscapes: Tanguy and Dalí
Dalí
SOURCE: Georges Bataille, from The Cruel Practice of Art (1949)
Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam
Matta and Lam
Women and Surrealism: Oppenheim, Cahun, Tanning, and Carrington
Never Quite “One of Ours”: Picasso and Surrealism
Painting and Graphic Art, mid-1920s to 1930s
Guernica and Related Works
Sculpture, late 1920s to 1940s
Pioneer of a New Iron Age: Julio González
Surrealism’s Sculptural Language: Giacometti’s Early Career
Surrealist Sculpture in Britain: Moore
Bizarre Juxtapositions: Photography and Surrealism
Atget’s Paris
Man Ray, Kertész, Tabard, and the Manipulated Image
The Development of Photojournalism: Brassaï, Bravo, Model, and Cartier-Bresson
An English Perspective: Brandt
16: American Art Before World War II
America Undisguised: The Eight and Social Criticism
Henri, Sloan, Prendergast, and Bellows
SOURCE: Walt Whitman, first stanza of Crossing Brooklyn Ferry (1856)
Two Photographers: Riis and Hine Brooks
A Rallying Place for Modernism: 291 Gallery and the
Stieglitz Circle
Stieglitz and Steichen
TECHNIQUE: Style through Medium, Photogravure and Gelatin-Silver Prints
Weber, Hartley, Marin, and Dove
O’Keeffe
Straight Photography: Strand, Cunningham, and Adams
Coming to America: The Armory Show
Sharpening the Focus on Color and Form: Synchromism and Precisionism
Synchromism
Precisionism
The Harlem Renaissance
Painting the American Scene: Regionalists and Social
Realists
Benton, Wood, Hopper
Grandma Moses and Horace Pippin
Bishop, Shahn and Blume
CONTEXT: The Sacco and Vanzetti Trial
Documents of an Era: American Photographers Between the Wars
Social Protest and Personal Pain: Mexican Artists
Rivera
Orozco
Siqueiros
Kahlo
Tamayo
Modotti’s Photography in Mexico
The Avant-Garde Advances: Toward American Abstract Art
Exhibitions and Contact with Europe
Davis
Diller and Pereira
Avery and Tack
Sculpture in America Between the Wars
Lachaise and Nadelman
Storrs and Roszak
Calder
17: Abstract Expressionism and the New American Sculpture
CONTEXT: Artists and Cultural Activism
Mondrian in New York: The Tempo of the Metropolis
Entering a New Arena: Modes of Abstract Expressionism
SOURCE: Clement Greenberg, from Modernist Painting (first published in 1960)
The Picture as Event: Experiments in Gestural Painting
Hofmann
Gorky
Willem de Kooning
Pollock
SOURCE: Harold Rosenberg, from The American Action Painters (first published in 1952)
Krasner
Kline
Tomlin and Tobey
Guston
Elaine de Kooning and Grace Hartigan
Complex Simplicities: Color Field Painting
Rothko
Newman
Still
Reinhardt
Gottlieb
Motherwell
Baziotes
Drawing in Steel: Constructed Sculpture
Smith and Dehner
Di Suvero and Chamberlain
Textures of the Surreal: Biomorphic Sculpture and Assemblage
Noguchi
Bourgeois
Cornell
Nevelson
Expressive Vision: Developments in American Photography
Capa and Miller
White, Siskind, Porter, and Callahan
Levitt and DeCarava
18: Postwar European Art
CONTEXT: Samuel Beckett and the Theatre of the Absurd
Revaluations and Violations: Figurative Art in France
Picasso
Giacometti
Richier
Balthus
Dubuffet
A Different Art: Abstraction in France
Fautrier, Van Velde, Hartung, and Soulages
Wols, Mathieu, Riopelle, and Vieira da Silva
De Staël
“Pure Creation”: Concrete Art
Bill and Lohse
Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain
Morandi
Marini and Manzù
Afro
Fontana
SOURCE: Lucio Fontana, from The White Manifesto (1946)
Burri
Tàpies
“Forget It and Start Again”: The CoBrA Artists and Hundertwasser
Jorn
Appel
Alechinsky
Hundertwasser
Figures in the Landscape: British Painting and Sculpture
Bacon
Sutherland
Freud
Moore
Hepworth
Marvels of Daily Life: European Photographers
Bischof
Sudek
Doisneau
19: Nouveau Réalisme and Pop Art
CONTEXT: The Marshall Plan and the “Marilyn Monroe Doctrine”
“Extroversion is the Rule”: Europe’s New Realism
Klein
Tinguely and Saint-Phalle
Arman
César
Raysse
Christo and Jeanne-Claude
Rotella, Manzoni and Broodthaers
“This is Tomorrow”: Pop Art in Britain
Hamilton and Paolozzi
Blake and Kitaj
Hockney
Signs of the Times: Pop Art in the United States
Rauschenberg
Johns
Getting Closer to Life: Happenings and Environments
Kaprow, Grooms, and Early Happenings
Segal
Oldenburg
“Just Look at the Surface”: The Imagery of Everyday Life
Dine
Samaras and Artschwager
Rivers
Lichtenstein
Warhol
TECHNIQUE: Screenprinting
Rosenquist, Wesselmann, and Indiana Lindner, Marisol, Sister Corita
Poetics of the “New Gomorrah”: West Coast Artists
Thiebaud
Kienholz
Jess
Ruscha
Jiménez
Personal Documentaries: The Snapshot Aesthetic in
American Photography
20: Playing by the Rules: Sixties Abstraction
Drawing the Veil: Post Painterly Abstraction
SOURCE: Clement Greenberg, from Post Painterly Abstraction (1964)
Francis and Mitchell
Frankenthaler, Louis, and Olitski
Poons
At an Oblique Angle: Diebenkorn and Twombly
Forming the Unit: Hard-Edge Painting
Seeing Things: Op Art
Vasarely
Riley and Anuszkiewicz
New Media Mobilized: Motion and Light
Mobiles and Kinetic Art
Artists Working with Light
The Limits of Modernism: Minimalism
Caro
Stella
Smith, Judd, Bladen, and Morris
SOURCE: Tony Smith, from a 1966 Interview in Artforum
LeWitt, Andre, and Serra
TECHNIQUE: Minimalist Materials: Cor-Ten Steel
Minimalist Painters
Complex Unities: Photography and Minimalism
21: Modernism in Architecture at Mid-Century
“The Quiet Unbroken Wave”: The Later Work of Wright and Le Corbusier
Wright During the 1930s
Le Corbusier
Purity and Proportion: The International Style in America
The Influence of Gropius and Mies van der Rohe
Skyscrapers
Domestic Architecture
Internationalism Contextualized: Developments in Europe, Latin America, Asia, and Australia
Finland
Great Britain
France
Germany and Italy
Latin America, Australia, and Japan
Breaking the Mold: Experimental Housing
CONTEXT: Women in Architecture
Arenas for Innovation: Major Public Projects
Cultural Centers, Theaters, and Museums in America
Urban Planning and Airports
Architecture and Engineering
TECHNIQUE: The Dymaxion House
22: Conceptualism and Activist Art
Art as Language
Art & Language, Kosuth
CONTEXT: Semiotics
Weiner, Huebler, Barry
Keeping Time: Baldessari, Kawara, Darboven
Conceptual Art as Cultural Critique
Haacke, Asher
Lawler, Wilson
Buren
Extended Arenas: Performance Art and Video
Fluxus
CONTEXT: The Situationists
Beuys
The Medium Is the Message: Early Video Art
Paik
Nauman
Campus’ Video Art
When Art Becomes Artist: Body Art
Schneemann, Wilke
Mendieta
Acconci
Burden
Gilbert and George, Anderson, and Horn
Radical Alternatives: Feminist Art
The Feminist Arts Program
Erasing the Boundaries between Art and Life: Later
Feminist Art
Kelly
Guerrilla Girls
Antoni
Invisible to Visible: Art and Racial Politics
OBAC, Afri-COBRA, and SPARC
Ringgold and Folk Traditions
Social and Political Critique: Hammons, Colescott
The Concept of Race: Piper
23: Post-Minimalism
Big Outdoors: Earthworks and Land Art
CONTEXT: Environmentalism
Monumental Works
SOURCE: Robert Smithson, from “Cultural Confinement,” originally published in Artforum (1972)
Landscape as Experience
Abakanowicz’s Site-Specific Sculpture
Visible Statements: Monuments and Public Sculpture
Metaphors for Life: Process Art
Arte Povera: Merz, Kounellis
Body of Evidence: Figurative Art
Traditional Realism
Photorealism
Hanson’s Superrealist Sculpture
Stylized Naturalism
Animated Surfaces: Pattern and Decoration
Figure and Ambiguity: New Image Art
Rothenberg and Moskowitz
Sultan and Jenney
Borofsky and Bartlett
Chicago Imagists: Nutt and Paschke
Steir
New Image Sculptors: Shapiro and Flanagan
24: Postmodernism
CONTEXT: Poststructuralism
Postmodernism in Architecture
“Complexity and Contradiction”: The Reaction Against
Modernism Sets In
SOURCE: Robert Venturi, Denise Scott Brown, and Steven Izenour, from Learning from Las Vegas (1972)
In Praise of “Messy Vitality”: Postmodernist Eclecticism
Venturi, Rauch, and Scott Brown, and Moore
Hollein, Stern, and Isozaki
Ironic Grandeur: Postmodern Architecture and History
Johnson
Stirling, Jahn, Armajani, and Foster
Pei and Freed
Ando and Pelli
What Is a Building?: Deconstruction
CONTEXT: Deconstruction versus Deconstructivism
Structure as Metaphor: Architectural Abstractions
Flexible Spaces: Architecture and Urbanism
Plater-Zyberk and Duany
Koolhaas and the OMA
Postmodern Practices: Breaking Art History
Appropriation: Kruger, Levine, Prince, and Sherman
Kruger
Holzer, McCollum, and Tansey
25: Painting through History
Primal Passions: Neo-Expressionism
German Neo-Expressionism: Baselitz, Lüpertz, Penck, and Immendorff
Polke, Richter, and Kiefer
SOURCE: Gerhard Richter, from “Notes 1964–1965”
Italian Neo-Expressionism: Clemente, Chia, and Cucchi
TECHNIQUE: Choosing Media
American Neo-Expressionism: Schnabel, Salle, and Fischl
Regarding Representation: Painting and Photography in the 1980s
Longo
The Starns
Gilbert and George
Searing Statements: Painting as Social Conscience
Golub and Spero
Coe and Applebroog
In the Empire of Signs: Neo-Geo
Neo-Geo Abstraction: Halley and Bleckner
The Sum of Many Parts: Abstraction in the 1980s
Murray
Winters
Taaffe
Scully
Wall of Fame: Graffiti and Cartoon Artists
Haring, Basquiat
Wojnarowicz and Wong
Rollins and KOS
Painting Art History
Currin, Yuskavage
26: Contemporary Art and the Renegotiation of Modernism
CONTEXT: National Endowment for the Arts
CONTEXT: International Art Exhibitions
Commodity Art
Postmodern Arenas: Installation Art
CoLab, Ahearn, Osorio
Kabakov
Viola
Strangely Familiar: British and American Sculpture
Reprise and Reinterpretation: Art History as Art
Meeting Points: Exploring a Postmodern Abstraction
27: Contemporary Art and Globalization
CONTEXT: Modern Art Exhibitions and Postcolonialism
Lines That Define Us: Locating and Crossing Borders
Art and the Expression of Culture
Growing into Identity
Identity as Place
Skin Deep: Identity and the Body
Body as Self
Filming the Body
The Absent Body
The Art of Biography
Globalization and Arts Institutions
Interventions in the Global Museum
Designing a Global Museum
CONTEXT: Avant-tainment
CONTEXT: Pritzker Prize
Glossary
Index
| Erscheint lt. Verlag | 20.8.2009 |
|---|---|
| Sprache | englisch |
| Maße | 220 x 291 mm |
| Gewicht | 2440 g |
| Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
| ISBN-10 | 0-13-606206-7 / 0136062067 |
| ISBN-13 | 978-0-13-606206-6 / 9780136062066 |
| Zustand | Neuware |
| Haben Sie eine Frage zum Produkt? |
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