The Meanings of Modern Art"This book is based on two beliefs," says John Russell in his preface "One is that in art, as in the sciences, ours is one of the big centuries. The other is that the history of art, if properly set out, is the history of everything." It is in this spirit that the book deals with the major movements in art and the major artists since the 1860s, and it also interweaves the central historical and cultural events and themes of the modern period. The Meanings of Modern Art is the work of a critic who has lived with modern art for almost half a century and has been close to many of those who have created the masterworks of our time. The book contains a choice of illustrations as exacting as it is generous, and the 328 illustrations in color and in black and white are integrated with the text. The history of art as presented here is truly "the history of everything." In the words of the College Art Association, which in 1978 gave John Russell its Mather Award for art criticism, "John Russell can illuminate everything from the stones of Egypt to the bricks of Carl Andre."--Publisher's description. |
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Page 34
... Imagined melodramas about one man killing another cannot compete for enduring interest with the restructuring of the act of cognition which was Cézanne's deepest concern during the last years of his life . In one way or another , there ...
... Imagined melodramas about one man killing another cannot compete for enduring interest with the restructuring of the act of cognition which was Cézanne's deepest concern during the last years of his life . In one way or another , there ...
Page 55
... imagined that a progressive attitude toward color could be combined with a reactionary attitude to- ward other departments of art . In formal terms , the Fauve paintings of Derain and Vlaminck were conservative and unambitious by ...
... imagined that a progressive attitude toward color could be combined with a reactionary attitude to- ward other departments of art . In formal terms , the Fauve paintings of Derain and Vlaminck were conservative and unambitious by ...
Page 286
... to find that fear had impregnated the very blankets that he tries to pull up to his chin . Klee imagined his Letter Ghost at a time when not to get a letter often meant the arrest , if not the death ,. THE MEANINGS OF MODERN ART 286.
... to find that fear had impregnated the very blankets that he tries to pull up to his chin . Klee imagined his Letter Ghost at a time when not to get a letter often meant the arrest , if not the death ,. THE MEANINGS OF MODERN ART 286.
Contents
The Emancipation of Color | 42 |
History as Nightmare | 69 |
Reality Reassembled | 97 |
Copyright | |
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Abrams American art André Apollinaire Armory Show artist Bauhaus blue Bonnard Breton called century Cézanne Chagall Chirico color context Cubism Cubist painting Dada Delaunay Demoiselles Derain drawing dream Edvard Munch element Europe European fact Fauvism feel feet Fernand Léger figure flat French friends fundamental Gallery Gauguin Georges Braque German Gift Glass Gogh Gorky Gris Henri Matisse human idea inches instance Jasper Johns Joan Miró John Kandinsky kind Kirchner Klee Klimt knew Kooning landscape later Léger lived look Malevich Marcel Duchamp Matisse Max Ernst ment Miró Modern Art Mondrian Munch Museum of Art Museum of Modern nature never objects Oil on canvas once onward Pablo Picasso painter Paris Paul Klee Picabia Picasso and Braque picture Piet Mondrian poet Pollock portrait Praeger Russian sculpture seen sense studio subject matter Surrealism Surrealists thing tion took tradition ture turned Vuillard Walter Arensberg wrote