History of Modern Art : Painting Sculpture Architecture Photography

by Arnason, H. H. H; Kalb, Peter

• ISBN13: 9780131840690
• ISBN10: 013184069X
• Edition: 5th
• Format: Paperback
• Copyright: 2004-01-01
• Publisher: Pearson College Div

Summary

For undergraduate course in Modern Art, Origins of Modernism, Art Since 1945, Contemporary Art and other courses focusing on art in the 20th century. Long considered the survey of modern art, this engrossing and liberally illustrated text traces the development of trends and influences in painting, sculpture, photography and architecture from the mid-nineteenth century to the present day. Retaining its comprehensive nature and chronological approach, it now comes thoroughly reworked by Michael Bird, an experienced art history editor and writer, with refreshing new analyses, a considerably expanded picture program, and a more absorbing and unified narrative.

Table of Contents

Preface and Acknowledgments	x
The Sources of Modern Painting	1	(14)
Changing Perspectives: From Renaissance to Baroque	2	(3)
Making Sense of a Turbulent World: Neoclassicism and Romanticism	5	(8)
Academic Art and the Salon	13	(2)
Realism, Impressionism, and Early Photography	15	(31)
New Ways of Seeing: Photography and its Influence	15	(6)
A Chastened Vision: Realism in Art	21	(3)
Seizing the Moment: Impressionism and the Avant-Garde	24	(13)
Nineteenth-Century Art in the United States	37	(9)
Post-Impressionism	46	(26)
The Poetic Science of Color: Seurat and the Neo-Impressionists	47	(3)
Form and Nature: Paul Cezanne	50	(5)
A Visual Language of the Heart and Soul: Symbolism	55	(5)
Innocence and Experience: Gauguin and Van Gogh	60	(5)
A New Generation of Prophets: The Nabis	65	(7)
The Origins of Modern Architecture and Design	72	(10)
Palaces of Iron and Glass: The Influence of Industry	72	(3)
``A Return to Simplicity'': The Arts and Crafts Movement and Experimental Architecture	75	(2)
``Form Follows Function'': The Chicago School and the Origins of the Skyscraper	77	(5)
Art Nouveau and the Beginnings of Expressionism	82	(15)
Natural Forms for the Machine Age: The Art Nouveau Aesthetic	82	(9)
Toward Expressionism: Late Nineteenth-Century Painting beyond France	91	(6)
The Origins of Modern Sculpture	97	(11)
The Painter--Sculptors: Daumier, Degas, and Gauguin	98	(1)
An Art Reborn: Auguste Rodin	99	(6)
Exploring New Possibilities: Claudel, Maillol, Bourdelle, and Rosso	105	(3)
Fauvism	108	(16)
``Purity of Means'' in Practice: Henri Matisse's Early Career	108	(7)
``Wild Beasts Tamed'': Derain, Vlaminck, and Dufy	115	(3)
Colors of the Spiritual Eye: Georges Rouault	118	(1)
The Belle Epoque on Camera: The Lumiere Brothers and Lartigue	119	(1)
Modernism on a Grand Scale: Matisse's Art after Fauvism	120	(4)
Expressionism in Germany	124	(21)
Making it Personal: Modersohn-Becker and Nolde	124	(2)
Joining the Revolution: Die Brucke	126	(5)
Graphic Impact: Expressionist Prints	131	(3)
The Spiritual Dimension: Der Blaue Reiter	134	(7)
Self-Examination: Expressionism in Austria	141	(4)
The Figurative Tradition in Early Twentieth-Century Sculpture	145	(11)
A Parallel Medium: The Sculpture of Henri Matisse	146	(2)
Developments in Germany: Lehmbruck, Kolbe, Banlach, and Kollwitz	148	(2)
Forms of the Essential: Constantin Brancusi	150	(6)
Cubism	156	(37)
Taking Possession: Picasso's Early Career	156	(8)
Beyond Fauvism: Braque's Early Career	164	(3)
``Two Mountain Climbers Roped Together'': Braque, Picasso, and the Development of Cubism	167	(9)
Constructed Spaces: Cubist Sculpture	176	(6)
An Adaptable Idiom: Developments in Cubist Painting in Paris	182	(5)
Other Agendas: Orphism and Other Experimental Art in Paris, 1910--14	187	(6)
Futurism, Abstraction in Russia, and de Stiil	193	(26)
``Running on Shrapnel'': Futurism in Italy	193	(6)
A World Ready for Change: Early Abstraction in Russia	199	(7)
Utopian Visions: Russian Constructivism	206	(7)
Clarity, Certainty, and Order: De Stijl in the Netherlands	213	(6)
Early Twentieth-Century Architecture	219	(17)
Modernism in Harmony with Nature: Frank Lloyd Wright	219	(4)
Temples for the Modern City: American Classicism 1900--15	223	(1)
New Simplicity Versus Art Nouveau: Vienna Before World War I	224	(2)
Tradition and Innovation: The German Contribution to Modern Architecture	226	(3)
Toward the International Style: The Netherlands and Belgium	229	(5)
New Materials, New Visions: France and Italy	234	(2)
From fantasy to Dada and the New Objectivity	236	(31)
Truth Pursued through the Dreamworld: Chagall and the Metaphysical School	236	(5)
The World Turned Upside Down: The Birth of Dada	241	(5)
A Further Shore: New York Dada	246	(8)
``Art is Dead'': Dada in Germany	254	(5)
Idealism and Disgust: The ``New Objectivity'' in Germany	259	(6)
Dada Divided: Developments in Paris	265	(2)
The School of Paris After World War I	267	(21)
Eloquent Figuration: Les Maudits	267	(5)
Dedication to Color: Matisse's Later Career	272	(5)
Celebrating the Good Life: Dufy's Later Career	277	(1)
Eclectic Mastery: Picasso After the High-Point of Cubism	278	(5)
Sensuous Analysis: Braque's Later Career	283	(2)
Austerity and Elegance: Leger, Ozenfant, and Le Corbusier	285	(3)
Surrealism	288	(41)
Breton and the Background to Surrealism	288	(2)
``Art is a Fruit'': Arp's Later Career	290	(2)
Hybrid Menageries: Ernst's Surrealist Techniques	292	(3)
``Night, Music, and Stars'': Miro' and Organic--Abstract Surrealism	295	(3)
Methodical Anarchy: Andre Masson	298	(1)
Enigmatic Landscapes: Yves Tanguy	299	(2)
``A Laboratory for New Ideas'': Surrealism and the Americas	301	(2)
``The Association of Delirious Phenomena'': Salvador Dali	303	(4)
Three Northern European Surrealists: Magritte, Delvaux, and Bellmer	307	(3)
Women and Surrealism: Oppenheim, Tanning, and Carrington	310	(2)
Never Quite ``One of Ours'': Picasso and Surrealism	312	(7)
Pioneer of a New Iron Age: Julio Gonzalez	319	(1)
Surrealism's Sculptural Language: Giacometti's Early Career	320	(2)
Bizarre Juxtapositions: Photography and Surrealism	322	(7)
Modern Architecture Between the Wars	329	(14)
The Building as Entity: The Bauhaus	329	(2)
Audacious Lightness: The Architecture of Gropius	331	(2)
``Machines for Living'': The International Style	333	(4)
A Return to Innovation: Developments in American Architecture	337	(6)
International Abstraction Between the Wars	343	(28)
``The Core from which Everything Emanates'': International Constructivism and the Bauhaus	343	(13)
A Determined Minority: Abstract Artists in Paris	356	(5)
American Connections: Mondrian and Calder	361	(4)
Responses to International Abstraction: Artists in Britain	365	(6)
American Art Before World War II	371	(39)
America Undisguised: The Eight and Social Criticism	371	(4)
A Rallying Place for Modernism: 291 Gallery and the Stieglitz Circle	375	(8)
The Europeans Are Coming: The Armory Show	383	(1)
Sharpening the Focus on Color and Form: Synchromism and Precisionism	383	(4)
Painting the American Scene: Regionalists and Social Realists	387	(8)
Documents of an Era: American Photographers Between the Wars	395	(3)
Black History and Modern Painting: Bearden and Lawrence	398	(1)
Social Protest and Personal Pain: Mexican Artists	399	(4)
The Avant-Garde Advances: Toward American Abstract Art	403	(5)
Sculpture in America Between the Wars	408	(2)
Abstract Expressionism and the New American Sculpture	410	(36)
Entering a New Arena: Modes of Abstract Expressionism	410	(1)
The Picture as Event: Experiments in Gestural Painting	411	(12)
Complex Simplicities: Color Field Painting	423	(10)
Drawing in Steel: Constructed Sculpture	433	(4)
Textures of the Surreal: Biomorphic Sculpture and Assemblage	437	(5)
Expressive Vision: Developments in American Photography	442	(4)
Postwar European Art	446	(32)
Revaluations and Violations: Figurative Art in France	446	(9)
A Different Art: Abstraction in France	455	(6)
``Pure Creation'': Concrete Art	461	(1)
Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain	462	(5)
``Forget It and Start Again'': The CoBrA Artists and Hundertwasser	467	(4)
Figures in the Landscape: British Painting and Sculpture	471	(5)
Marvels of Daily Life: European Photographers	476	(2)
Pop Art and Europe's New Realism	478	(45)
``This is Tomorrow'': Pop Art in Britain	478	(4)
Signs of the Times: Neo-Dada in the United States	482	(6)
Getting Closer to Life: Happenings and Environments	488	(5)
``Just Look at the Surface'': The Imagery of Everyday Life	493	(11)
Poetics of the ``New Gomorrah'': West Coast Artists	504	(5)
``Extroversion is the Rule'': Europe's New Realism	509	(8)
Personal Documentaries: The Snapshot Aesthetic in American Photography	517	(6)
Sixties Abstraction	523	(38)
Drawing the Veil: Post-Painterly Color Field Abstraction	523	(6)
At an Oblique Angle: Diebenkorn and Twombly	529	(2)
Forming the Unit: Hard-Edge Painting	531	(5)
Seeing Things: Op Art	536	(2)
New Media Mobilized: Motion and Light	538	(5)
The Limits of Modernism: Minimalist Sculpture and Painting	543	(17)
Complex Unities: Photography and Minimalism	560	(1)
The Second Wave of International Style Architecture	561	(27)
The Avant-Garde Diaspora: Architecture in the 1930s	561	(1)
``The Quiet Unbroken Wave'': The Later Work of Wright and Le Corbusier	562	(3)
Purity and Proportion: The International Style in America	565	(7)
Internationalism Contextualized: Developments in Scandinavia, Europe, Latin America, Asia, and Australia	572	(7)
Breaking the Mold: Experimental Housing	579	(3)
Arenas for Innovation: Major Public Projects	582	(6)
The Pluralistic Seventies	588	(67)
Forms of Thought: Conceptual Art	589	(3)
Extended Arenas: Performance Art and Video	592	(7)
Radical Alternatives: Feminist Art	599	(6)
Metaphors for Life: Process Art	605	(7)
Big Outdoors: Earthworks and Land Art	612	(9)
Visible Statements: Monuments and Public Sculpture	621	(4)
Body of Evidence: Figurative Art	625	(9)
Constructing Respect: Art and Racial Politics	634	(6)
Animated Surfaces: Pattern and Decoration	640
Figure and Ambiguity: New Image Art	433	(222)
Postmodernism in Architecture	655	(30)
``Complexity and Contradiction'': The Reaction Against Modernism Sets In	656	(2)
In Praise of ``Messy Vitality'': Postmodernist Eclecticism	658	(6)
Ironic Grandeur: Postmodernism and History	664	(8)
What Is a Building?: Deconstruction	672	(3)
Structure as Metaphor: Architectural Abstractions	675	(3)
Flexible Spaces: Architecture and Urbanism	678	(7)
The Retrospective Eighties	685	(45)
Codes of Context: Appropriation	685	(8)
Primal Passions: Neo-Expressionism	693	(11)
The Challenge of Photography in 1980s Art	704	(2)
Searing Statements: Expressive (if not Expressionist) Art	706	(3)
Wall of Fame: Graffiti and Cartoon Artists	709	(3)
Postmodern Arenas: Installation Art	712	(46)
In the Empire of Signs: Varieties of Neo-Geo	758
The Sum of Many Parts: Abstraction in the 1980s	722	(4)
Strangely Familiar: British and American Sculpture	726	(4)
Resistance and Resolution	730	(46)
Contested Visions: Art and Politics circa 1990	730	(2)
Mining the Museum: Art and Institutions	732	(4)
The Postmodern ``I'': The Artist as Individual	736	(12)
The Postmodern ``We'': The Artist and Society	748	(10)
Reprise and Reinterpretation: The Art of Art History	758	(2)
Considering Nature: New Visions of Landscape	760	(4)
Meeting Points: Painting and Sculpture as Social (ized) Spaces	764	(6)
The Consequences of Tradition: Pictorialism and Sculpture	770	(3)
Think Before You Buy: Art and Cultural Industry	773	(3)
Bibliography	776	(23)
Glossary	799	(3)
Index	802	(24)
Credits	826

Excerpts

At the start of the twenty-first century, the term "modern art" already has something of a venerable ring to it. It has joined other capacious art historical categories, such as "Renaissance" or "Romanticism," which, though they may usefully serve to give shape to broad contours of art history, become less clear in meaning and more open to dispute the closer you get to detailed discussion of specific works of art. The only difference between these and "modern art" is that modern art as a temporal category is still open-ended: it is, by one definition, simply the art of the present day. But it also includes the early paintings of Matisse and Malevich, Braque's Cubist collages, and the first building designs by Frank Lloyd Wright--products of a world that now feels very distant indeed, separated from us by two world wars, the atomic bomb, and the Internet. The words "modern art" have soaked up so much history that they can never again mean what they once meant (or at least, not with the same heady conviction): shockingly new, bewilderingly progressive, utterly of the present moment, unprecedented-though they still encompass that. A Short History ofHistory of Modern Art Just as "modern" is a many-layered term, this book, now in its fifth edition, has a history of its own. As the term "modern art" has broadened and been reinterpreted over time, successive scholars, editors, and specialist contributors have amended and added to Harvey H. Arnason's original text, which Arnason himself fully revised some years after the book was first published in 1969. This has been a process not only of fine-tuning and updating information but also of revisiting much of Arnason's material in the context of a scholarly and educational environment that has changed significantly from the one in which he wrote. There are parallels to this process in other cultural arenas, for example in the reorganization and reinterpretation of museum and gallery displays. The core of the collection remains the same, the objects have the same indelible presence and fascination, but, juxtaposed with new acquisitions and displayed under different lighting conditions, they lead viewers to look at them in different (sometimes very different) ways. In this sense, while this new edition ofHistory of Modern Artcontains much added material, it is still essentially Arnason's creation. This Preface offers a brief investigation into the marathon staying-power of his original endeavor, even through successive revisions have seen the book evolve over the years to take account of new directions in art and art history. After more than three decades and four new editions, Arnason's vision remains the core of this standard work of art historical reference. The Art of Looking Arnason was Professor and Chairman of the University of Minnesota's art department from 1947 to 1961, and he had a long association with New York's Solomon R. Guggenheim Museum as its Vice President for Art Administration. He embarked onHistory of Modern Artrelatively late in life. The project was conceived and intended as a long-term landmark--the first book of its kind--and it drew on the experience of his distinguished career as an art historian. Two deep-rooted convictions underpin Arnason'sHistory:first, that understanding art is a matter of fundamental importance; second, that the way to learn about art is to look for yourself. His Preface unequivocally emphasized his belief in the importance of the individual's face-to-face experience of art--a belief that, as he saw it, gave the book its rationale and its structure: The thesis of this book, insofar as it has a thesis, is that in the study of art the only primary evidence is the work of art itself. Everything that has been said about it, even by the artist himself, may be important, but it remains secondary evidence. Everything that we can