Nothing If Not Critical: Selected Essays on Art and ArtistsFrom Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject. For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic). Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s. A meteor of a book that enlightens, startles, stimulates and entertains. |
From inside the book
Results 1-3 of 69
Page 53
... light of this lantern is not the light shed by Rous- seau's assumptions about the goodness of mankind , or by the hopes of the Spanish reformers that Goya saw crushed at the very moment in 1814 when he was painting The Third of May ...
... light of this lantern is not the light shed by Rous- seau's assumptions about the goodness of mankind , or by the hopes of the Spanish reformers that Goya saw crushed at the very moment in 1814 when he was painting The Third of May ...
Page 172
... light . Nice gave him a different light from that in Paris - a high , constant effulgence with little gray in it , flooding broadly across sea , city and hills , producing luminous shadows and clear tonal structures . It encouraged ...
... light . Nice gave him a different light from that in Paris - a high , constant effulgence with little gray in it , flooding broadly across sea , city and hills , producing luminous shadows and clear tonal structures . It encouraged ...
Page 268
... light waves reflected from them , but these light waves are not a dog or a Vermeer . Can one make art by eliminating the middle term and just having light ? That is what Turrell has tried to do - and with brilliant success , leading us ...
... light waves reflected from them , but these light waves are not a dog or a Vermeer . Can one make art by eliminating the middle term and just having light ? That is what Turrell has tried to do - and with brilliant success , leading us ...
Contents
of the City of Mahagonny | 3 |
Ancestors | 31 |
Nineteenth Century | 89 |
Copyright | |
15 other sections not shown
Other editions - View all
Common terms and phrases
abstract Abstract Expressionism aesthetic American art American artist Andy Warhol architecture art history art market art world avant-garde Basquiat Baudrillard become Berenson blue canvas Caravaggio career catalogue Cézanne Chirico collectors color Courbet critics Cubist cultural dealers death Degas drawing early Édouard Manet eighties English exhibition expressionist face fantasy feeling figure flat Frank Auerbach French Gallery Gauguin Gogh Goya Goya's hero Hockney idea imagery imagine Jackson Pollock Jean-Michel Basquiat Kiefer kind Kooning landscape late light living look Manet mass media Matisse matter Michelangelo modern art modernist Motherwell motif Museum Neo-Expressionism never nineteenth century nude obsessed painter painting Paris parody Picasso pictorial picture Pollock portrait Poussin Pre-Raphaelite R. B. Kitaj retrospective Rome Rothko scene Schnabel sculpture seems seen sense sixties social Steinberg studio style surface Susan Rothenberg things tion turned visual wanted Warhol watercolors York Zurbarán