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The center would not send things to you — you had to go to it, like Picasso
coming to Paris from Barcelona in 19oo. The forms of fin-de-siecle Paris were to
modernism what the marbles of Rome had been to classicism: think only of the
Hopper belonged to the first generation of American artists whose work voted for
secession from Paris. In 1927 he stated his belief that "now or in the near future"
— the caution was typical of the man — "American art should be weaned from its
Palau de la M1isica Catalana, Barcelona, 11 Palazzo Grassi, Venice, "Futurismo
& Futurismi," 173-7 Palladio, Andrea, 74, 75 Panofsky, Erwin, 366 Paris, 3-4, 7,
16, 18, 35-7, 37, 49, 56, 59, 68, 89, 98, m, 14o, 155, 4o3; as an art capital, 25-7; ...
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LibraryThing ReviewUser Review - philipjohn - LibraryThing
Robert Hughes must be one of the finest users of language at work in the field of art criticism. His comments, whether you agree with them or not, are always a joy to read. Read full review
Nothing if not critical: selected essays on art and artistsUser Review - Not Available - Book Verdict
This collection brings together over 90 essays, many of which have already appeared in major journals. Hughes considers the Masters, 19th-century art and artists, the Modernist spirit, American and ... Read full review