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Modern Art, 1851-1929


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Table of Contents

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

About the Author

Richard Brettell, formerly Director of the Dallas Museum, is currently an independent consultant to museums round the world. He also continues to undertake research and teaching duties at a variety of educational institutions.


"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."--Fran oise Cachin, Directeur des Mus es 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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