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Author: David Cottington
Publisher: Yale University Press
ISBN: 9780300075298
Category : Art
Languages : en
Pages : 286
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Book Description
This groundbreaking book provides a major reassessment of the history and significance of cubism. David Cottington examines the cubist movement and sets it within the complex political, economic, and cultural forces of pre-World War I France. Cubism, as a part of the Parisian artistic avant-garde, played an integral role in the turbulent Belle Epoque. The author focuses on cubisms relation to the particular discourses?of nationalism, aestheticism, gender, the social purpose of art?that gave meaning to the experience of modernity in Paris in the decade before the war. In Part I of the book, the author discusses the "cubist conjuncture," the years that followed the collapse of the Bloc des Gauches. The Bloc, more than a parliamentary alliance, represented an effort of collaboration between the liberal middle class and sectors of the working class led by Parisian intellectuals and artists (future cubists among them). In the wake of the Blocs failure, workers withdrew into trade unionism and artists into aesthetic avant-gardism. Cottington analyzes this consolidation of the artistic avant-garde, its relation to the expanding dealer-centered art market, and the dominant and counter discourses of the day. In Part II, he considers specific aspects of cubist art and the cubist movement?from the conservative modernism of the paintings of Le Fauconnier and Gleizes to the aestheticism of Picassos papiers-collés to the collective architectural and interior design project of the "cubist house." These examples and others, Cottington concludes, reveal cubism as a contradictory and unstable constellation of interests and practices, sometimes complicit with dominant social and political forces, sometimes opposed to them, but in every case shaped by them.
Author: David Cottington
Publisher: Yale University Press
ISBN: 9780300075298
Category : Art
Languages : en
Pages : 286
Get Book Here
Book Description
This groundbreaking book provides a major reassessment of the history and significance of cubism. David Cottington examines the cubist movement and sets it within the complex political, economic, and cultural forces of pre-World War I France. Cubism, as a part of the Parisian artistic avant-garde, played an integral role in the turbulent Belle Epoque. The author focuses on cubisms relation to the particular discourses?of nationalism, aestheticism, gender, the social purpose of art?that gave meaning to the experience of modernity in Paris in the decade before the war. In Part I of the book, the author discusses the "cubist conjuncture," the years that followed the collapse of the Bloc des Gauches. The Bloc, more than a parliamentary alliance, represented an effort of collaboration between the liberal middle class and sectors of the working class led by Parisian intellectuals and artists (future cubists among them). In the wake of the Blocs failure, workers withdrew into trade unionism and artists into aesthetic avant-gardism. Cottington analyzes this consolidation of the artistic avant-garde, its relation to the expanding dealer-centered art market, and the dominant and counter discourses of the day. In Part II, he considers specific aspects of cubist art and the cubist movement?from the conservative modernism of the paintings of Le Fauconnier and Gleizes to the aestheticism of Picassos papiers-collés to the collective architectural and interior design project of the "cubist house." These examples and others, Cottington concludes, reveal cubism as a contradictory and unstable constellation of interests and practices, sometimes complicit with dominant social and political forces, sometimes opposed to them, but in every case shaped by them.
Author: David Cottington
Publisher:
ISBN: 9780300075298
Category :
Languages : en
Pages :
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Book Description
Author: David Cottington
Publisher: Manchester University Press
ISBN: 9780719050046
Category : Art
Languages : en
Pages : 350
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Book Description
Cubism was the most influential artistic movement of the 20th century, yet just what cubism was, or stood for, is still in dispute. This book offers a way beyond this confusion through a narrative of cubism's beginnings, consolidation and dissemination.
Author: Emily Braun
Publisher: Metropolitan Museum of Art
ISBN: 0300208073
Category : Art
Languages : en
Pages : 394
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Book Description
This beautifully illustrated volume tells the story of Cubism through twenty-two essays that explore the most significant private holding of Cubist art in the world today, the Leonard A. Lauder Collection, now a promised gift to The Metropolitan Museum of Art. The eighty works featured in this volume—by Georges Braque, Juan Gris, Fernand Léger, and Pablo Picasso‐are among the most important and visually arresting in the movement’s history. These masterpieces, critical to the development of Cubism, include such groundbreaking paintings as Braque’s Trees at L’Estaque, considered one of the very first Cubist pictures; Picasso’s Still Life with Fan: “L’Indépendant,” one of the first to introduce typography; Gris’s noirish, uncanny The Man at the Café, one of his most celebrated collages; and Léger’s uniquely ambitious Composition (The Typographer). Written by renowned experts on this subject, the essays trace the evolution of Cubism from its origins in the still lifes, portraits, and collages of Braque and Picasso through the precisely delineated compositions by Gris that prefigure the Synthetic Cubism of the war years to Léger’s distinctive intersections of spherical, cylindrical, and cubic forms that evoke the syncopated rhythms of modern life. Also included are a fascinating interview in which Leonard Lauder discusses his approach to collecting, an investigative essay on the information gleaned from the backs of the works themselves, and an authoritative catalogue that further establishes the lives of these magnificent objects. A publication to place alongside the great histories of Modernism, this comprehensive book will stand as the resource for understanding Cubism for many years to come. -
Author: Patricia Leighten
Publisher: University of Chicago Press
ISBN: 022600242X
Category : Art
Languages : en
Pages : 269
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Book Description
The years before World War I were a time of social and political ferment in Europe, which profoundly affected the art world. A major center of this creative tumult was Paris, where many avant-garde artists sought to transform modern art through their engagement with radical politics. In this provocative study of art and anarchism in prewar France, Patricia Leighten argues that anarchist aesthetics and a related politics of form played crucial roles in the development of modern art, only to be suppressed by war fever and then forgotten. Leighten examines the circle of artists—Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others—for whom anarchist politics drove the idea of avant-garde art, exploring how their aesthetic choices negotiated the myriad artistic languages operating in the decade before World War I. Whether they worked on large-scale salon paintings, political cartoons, or avant-garde abstractions, these artists, she shows, were preoccupied with social criticism. Each sought an appropriate subject, medium, style, and audience based on different conceptions of how art influences society—and their choices constantly shifted as they responded to the dilemmas posed by contradictory anarchist ideas. According to anarchist theorists, art should expose the follies and iniquities of the present to the masses, but it should also be the untrammeled expression of the emancipated individual and open a path to a new social order. Revealing how these ideas generated some of modernism’s most telling contradictions among the prewar Parisian avant-garde, The Liberation of Painting restores revolutionary activism to the broader history of modern art.
Author: David Cottington
Publisher: Yale University Press
ISBN: 0300166737
Category : Art
Languages : en
Pages : 418
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Book Description
An authoritative re-definition of the social, cultural and visual history of the emergence of the "avant-garde" in Paris and London Over the past fifty years, the term "avant-garde" has come to shape discussions of European culture and modernity, ubiquitously taken for granted but rarely defined. This ground-breaking book develops an original and searching methodology that fundamentally reconfigures the social, cultural, and visual context of the emergence of the artistic avant-garde in Paris and London before 1915, bringing the material history of its formation into clearer and more detailed focus than ever before. Drawing on a wealth of disciplinary evidence, from socio-economics to histories of sexuality, bohemia, consumerism, politics, and popular culture, David Cottington explores the different models of cultural collectivity in, and presumed hierarchies between, these two focal cities, while identifying points of ideological influence and difference between them. He reveals the avant-garde to be at once complicit with, resistant to, and a product of the modernizing forces of professionalization, challenging the conventional wisdom on this moment of cultural formation and offering the means to reset the terms of avant-garde studies.
Author: Elizabeth Lunday
Publisher: Rowman & Littlefield
ISBN: 149300073X
Category : Art
Languages : en
Pages : 237
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Book Description
The story of the most important art show in U.S. history. Held at Manhattan’s 69th Regiment Armory in 1913, the show brought modernism to America in an unprecedented display of 1300 works by artists including Picasso, Matisse, and Duchamp, A quarter of a million Americans visited the show; most couldn’t make sense of what they were seeing. Newspaper critics questioned the artists’ sanity. A popular rumor held that the real creator of one abstract canvas was a donkey with its tail dipped in paint. The Armory Show went on to Boston and Chicago and its effects spread across the country. American artists embraced a new spirit of experimentation as conservative art institutions lost all influence. New modern art galleries opened to serve collectors interested in buying the most progressive works. Over time, the stage was set for American revolutionaries such as Jackson Pollock, Mark Rothko, Roy Lichtenstein, and Andy Warhol. Today, when museums of modern and contemporary art dot the nation and New York reigns as art capital of the universe, we live in a world created by the Armory Show. Elizabeth Lunday, author of the breakout hit Secret Lives of Great Artists, tells the story of the exhibition from the perspectives of organizers, contributors, viewers, and critics. Brimming with fascinating and surprising details, the book takes a fast-paced tour of life in America and Europe, peering into Gertrude Stein’s famous Paris salon, sitting in at the fabulous parties of New York socialites, and elbowing through the crowds at the Armory itself.
Author: Matilde Marcolli
Publisher: MIT Press
ISBN: 0262358328
Category : Mathematics
Languages : en
Pages : 390
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Book Description
Exploring common themes in modern art, mathematics, and science, including the concept of space, the notion of randomness, and the shape of the cosmos. This is a book about art—and a book about mathematics and physics. In Lumen Naturae (the title refers to a purely immanent, non-supernatural form of enlightenment), mathematical physicist Matilde Marcolli explores common themes in modern art and modern science—the concept of space, the notion of randomness, the shape of the cosmos, and other puzzles of the universe—while mapping convergences with the work of such artists as Paul Cezanne, Mark Rothko, Sol LeWitt, and Lee Krasner. Her account, focusing on questions she has investigated in her own scientific work, is illustrated by more than two hundred color images of artworks by modern and contemporary artists. Thus Marcolli finds in still life paintings broad and deep philosophical reflections on space and time, and connects notions of space in mathematics to works by Paul Klee, Salvador Dalí, and others. She considers the relation of entropy and art and how notions of entropy have been expressed by such artists as Hans Arp and Fernand Léger; and traces the evolution of randomness as a mode of artistic expression. She analyzes the relation between graphical illustration and scientific text, and offers her own watercolor-decorated mathematical notebooks. Throughout, she balances discussions of science with explorations of art, using one to inform the other. (She employs some formal notation, which can easily be skipped by general readers.) Marcolli is not simply explaining art to scientists and science to artists; she charts unexpected interdependencies that illuminate the universe.
Author: Ignacio López-Calvo
Publisher: Cambridge Scholars Publishing
ISBN: 1443817929
Category : Literary Criticism
Languages : en
Pages : 420
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Book Description
While Said focused on the perceptions and stereotypes of the Near East “Oriental” in England, France and the United States, most of these essays study the decentering interplay between “peripheral” areas of the Third World, “semiperipheral” areas (Spain and Portugal since the second part of the seventeenth century), and marginalized social groups of the globe (Chicanos, African Americans, and Filipino Americans). They explore, for example, how China and the Far East in general are imagined and represented in Latin America and the Caribbean, or how ethnic minorities in the United States, such as Chicanos and African Americans, incorporate Filipino characters in their novels or creolize their music with Chinese influences. As the title of this book suggests, sometimes these “peripheral” areas and social groups talk back to the metropolitan centers of the former empires or look for their mediation, while others they avoid the interference of the First World or of hegemonic social groups altogether in order to address other “peripheral” peoples directly, thus creating rich “South-South” cross-cultural flows and exchanges. The main difference between the imperialistic orientalism studied by Said and this other type of global cultural interaction is that while, in their engagement with the “Orient,” they may be reproducing certain imperialistic fantasies and mental structures, typically there is not an ethnocentric process of self-idealization or an attempt to demonstrate cultural, ontological, or racial superiority in “South-South” intellectual and cultural exchanges. This way to de-center or to “provincialize” Europe—pace Dipesh Chakrabarty—disrupts the traditional center-periphery dichotomy, bringing about multiple and interchangeable centers and peripheries, whose cultures interact with one another without the mediation of the European and North American metropolitan centers.
Author: Juliet Bellow
Publisher: Routledge
ISBN: 135155803X
Category : Art
Languages : en
Pages : 308
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Book Description
Modernism on Stage restores Serge Diaghilev?s Ballets Russes to its central role in the Parisian art world of the 1910s and 1920s. During those years, the Ballets Russes? stage served as a dynamic forum for the interaction of artistic genres - dance, music and painting - in a mixed-media form inspired by Richard Wagner?s Gesamtkunstwerk (total work of art). This interdisciplinary study combines a broad history of Diaghilev?s troupe with close readings of four ballets designed by canonical modernist artists: Pablo Picasso, Sonia Delaunay, Henri Matisse, and Giorgio de Chirico. Experimental both in concept and form, these productions redefine our understanding of the interconnected worlds of the visual and performing arts, elite culture and mass entertainment in Paris between the two world wars. This volume traces the ways in which artists working with the Ballets Russes adapted painterly styles to the temporal, three-dimensional and corporeal medium of ballet. Analyzing interactions among sets, costumes, choreography, and musical accompaniment, the book establishes what the Ballets Russes' productions looked like and how audiences reacted to them. Juliet Bellow brings dance to bear upon modernist art history as more than a source of imagery or ornament: she spotlights a complex dialogue among art forms that did not preclude but rather enhanced artists? interrogation of the limits of medium.
