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Modern Art 1851-1929 : Capitalism and Representation - Richard Brettell

Modern Art 1851-1929

Capitalism and Representation

Paperback Published: 1st April 1999
ISBN: 9780192842206
Number Of Pages: 272

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Richard R. 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.

"Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University

"Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University

"A history of modern art of the highest quality, informative and enthusiastic."--Francoise Cachin, Directeur des Musees de France

"Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."--Foreword

"Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of modern art."--John Russell, New York Times Book Review "Uniquely valuable...a magisterial survey of the cultural, economic, and historical conditions in which modern art flourished."--Stephen Eisenman, Northwestern University "Very refreshing and original....The visual range--Czech and Canadian, Finnish and French--wrenches our tired assumptions about pictorial modernism into vivid new perspectives."--Richard Thomson, Edinburgh University

"A history of modern art of the highest quality, informative and enthusiastic."--Francoise Cachin, Directeur des Musees de France

"Lushly illustrated and laced with insightful captions, the images showcase a large cross-section of masters, including many works from the former Eastern bloc never before seen.... This addition to the Oxford series brings a freshly chivalrous account of modern art."--Foreword

"Written with an almost manic verve and fluency and an enviable command of many distant crevice in its panoramic subject matter.... A reordering of the global potential of modern art."--John Russell, New York Times Book Review

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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

ISBN: 9780192842206
ISBN-10: 019284220X
Series: Oxford History of Art
Audience: General
Format: Paperback
Language: English
Number Of Pages: 272
Published: 1st April 1999
Publisher: Oxford University Press
Country of Publication: GB
Dimensions (cm): 23.8 x 16.8  x 1.6
Weight (kg): 0.63