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9780192842732

Modern Art 1851-1929 Capitalism and Representation

by
  • ISBN13:

    9780192842732

  • ISBN10:

    0192842730

  • Format: Hardcover
  • Copyright: 1999-07-22
  • Publisher: Oxford University Press
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Summary

Richard Brettell's innovative and beautifully-illustrated account, the latest addition to the acclaimed Oxford History of Art series, explores the works of artists such as Monet, Gauguin, Picasso, and Dali--as well as lesser-known figures--in relation to expansion, colonialism, nationalism and internationalism, and the rise of the museum. Beginning with The Great Exhibition of 1851 in London, Brettell follows the development of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. Giving attention to the changing social, economic, and political climate, the book focuses on conditions for the development of modern art such as urban capitalism, modernity, and the accessible image made possible by art museums, temporary exhibitions, lithography, and photography. Brettell examines artists' responses to modernism, including changes in representation, vision, and "the art of seeing." Combining the most recent scholarship with 140 illustrations--75 in full color--the book chronicles the change in art and image itself, from the iconology of new representations of the nude human form to the anti-iconography of "art without 'subject'": landscape painting, text and image, and abstraction. Tracing common themes of representation, imagination, perception, and sexuality across works in a wide range of different media, and offering profuse illustration to bring the changing art forms vividly to life, Modern Art 1851-1929 presents a fresh approach to the fine art and photography of this remarkable era.

Author Biography


Richard Brettell, formerly Director of the Dallas Museum, is currently an independent consultant to museums around the world.

Table of Contents

Introduction The Great Exhibition of 1851, London 1(3)
Paris: the capital of modern art
3(1)
New technology
3(2)
The beginnings of modern art
5(4)
PART I REALISM TO SURREALISM 9(40)
Realism
13(2)
Impressionism
15(4)
Symbolism
19(2)
Post-Impressionism
21(3)
Neo-Impressionism
24(2)
Synthetism
26(1)
The Nabis
27(2)
The Fauves
29(1)
Expressionism
30(2)
Cubism
32(3)
Futurism
35(1)
Orphism
36(2)
Vorticism
38(1)
Suprematism/Constructivism
39(1)
Neo-Plasticism
40(2)
Dada
42(1)
Purism
43(1)
Surrealism
44(2)
The`-ism' problem
46(3)
PART II THE CONDITIONS FOR MODERN ART 49(32)
Urban Capitalism
51(14)
Paris and the birth of the modern city
52(4)
Capitalist society
56(2)
The commodification of art
58(2)
The modern condition
60(5)
Modernity, Representation, and the Accessible Image
65(16)
The art museum
67(3)
Temporary exhibitions
70(2)
Lithography
72(2)
Photography
74(4)
Conclusion
78(3)
PART III THE ARTIST'S RESPONSE 81(44)
Represntation, Vision, and `Reality': The Art of Seeing
83(22)
The human eye
86(1)
Transparency and unmediated modernism
87(2)
Surface fetishism and unmediated modernism
89(3)
Photography and unmediated modernism
92(3)
Beyond the oil sketch
95(2)
Cubism
97(8)
Image/Modernism and the Graphic Traffic
105(20)
The Pre-Raphaelite brotherhood
110(1)
Puvis de Chavannes and Gustave Moreau: image/modernism outside the avant-grade
111(3)
Image/modernism outside France
114(2)
Exhibitions of the avant-grade
116(4)
Framentation, dislocation, and recombination
120(5)
PART IV ICONOLOGY 125(86)
Introduction
127(4)
Sexuality and the Body
131(24)
Manet's bodies
131(5)
Modern art and pornography
136(2)
The nude and the modernist cycle of life
138(3)
The bathing nude
141(5)
The allegorical or non-sexual nude
146(1)
Colonialism and the nude: the troubled case of Gauguin
147(3)
The bride stripped bare
150(1)
Body parts and fragments
151(4)
Social Class and Class Consciousness
155(26)
Seurat and A Summer Sunday on the Island of the Grande Jatte (1884)
155(4)
Class issues in modernist culture
159(4)
Portraiture
163(7)
Images of peasantry
170(4)
The worker and modern art
174(7)
Anti-Iconography: Art Without `Subject'
181(16)
Landscape painting
181(6)
Text and image
187(3)
Abstraction
190(7)
Nationalism and Internationalism in Modern Art
197(14)
National identity
197(3)
Time and place
200(2)
Abstract art, spiritualism, and internationalism
202(4)
Nationalist landscape painting
206(5)
Afterword The Private Institutionalization of Modern Art 211(7)
Notes 218(8)
List of Illustrations 226(6)
Bibliographic Essay 232(8)
Timeline 240(10)
Julie Lawrence Cochran
Index 250

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