The period 1851 to 1929 witnessed the rise of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. It was also a time of rapid social, economic, and political change, encompassing a revolution in communication systems and technology, and an unprecedented growth in the availability of printed images. Richard Brettell's account of the era in art 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 across works in a wide range of different media he presents a fresh approach to the fine art and photography of this remarkable era.About the Author:
Richard Brettell, formerly Director of the Dallas Museum, is currently an independent consultant to museums around the world.
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Descripción Oxford University Press, USA, 1999. Hardcover. Estado de conservación: New. Nº de ref. de la librería DADAX0192842730
Descripción Oxford University Press, 1999. Estado de conservación: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: 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. Nº de ref. de la librería ABE_book_new_0192842730
Descripción Oxford University Press, 1999. Hardcover. Estado de conservación: New. book. Nº de ref. de la librería 0192842730