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.

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