Preface and Acknowledgments |
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x | |
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The Sources of Modern Painting |
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1 | (14) |
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Changing Perspectives: From Renaissance to Baroque |
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2 | (3) |
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Making Sense of a Turbulent World: Neoclassicism and Romanticism |
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5 | (8) |
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Academic Art and the Salon |
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13 | (2) |
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Realism, Impressionism, and Early Photography |
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15 | (31) |
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New Ways of Seeing: Photography and its Influence |
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15 | (6) |
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A Chastened Vision: Realism in Art |
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21 | (3) |
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Seizing the Moment: Impressionism and the Avant-Garde |
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24 | (13) |
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Nineteenth-Century Art in the United States |
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37 | (9) |
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46 | (26) |
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The Poetic Science of Color: Seurat and the Neo-Impressionists |
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47 | (3) |
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Form and Nature: Paul Cezanne |
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50 | (5) |
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A Visual Language of the Heart and Soul: Symbolism |
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55 | (5) |
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Innocence and Experience: Gauguin and Van Gogh |
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60 | (5) |
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A New Generation of Prophets: The Nabis |
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65 | (7) |
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The Origins of Modern Architecture and Design |
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72 | (10) |
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Palaces of Iron and Glass: The Influence of Industry |
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72 | (3) |
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``A Return to Simplicity'': The Arts and Crafts Movement and Experimental Architecture |
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75 | (2) |
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``Form Follows Function'': The Chicago School and the Origins of the Skyscraper |
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77 | (5) |
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Art Nouveau and the Beginnings of Expressionism |
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82 | (15) |
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Natural Forms for the Machine Age: The Art Nouveau Aesthetic |
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82 | (9) |
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Toward Expressionism: Late Nineteenth-Century Painting beyond France |
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91 | (6) |
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The Origins of Modern Sculpture |
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97 | (11) |
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The Painter--Sculptors: Daumier, Degas, and Gauguin |
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98 | (1) |
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An Art Reborn: Auguste Rodin |
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99 | (6) |
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Exploring New Possibilities: Claudel, Maillol, Bourdelle, and Rosso |
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105 | (3) |
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108 | (16) |
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``Purity of Means'' in Practice: Henri Matisse's Early Career |
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108 | (7) |
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``Wild Beasts Tamed'': Derain, Vlaminck, and Dufy |
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115 | (3) |
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Colors of the Spiritual Eye: Georges Rouault |
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118 | (1) |
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The Belle Epoque on Camera: The Lumiere Brothers and Lartigue |
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119 | (1) |
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Modernism on a Grand Scale: Matisse's Art after Fauvism |
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120 | (4) |
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124 | (21) |
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Making it Personal: Modersohn-Becker and Nolde |
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124 | (2) |
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Joining the Revolution: Die Brucke |
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126 | (5) |
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Graphic Impact: Expressionist Prints |
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131 | (3) |
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The Spiritual Dimension: Der Blaue Reiter |
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134 | (7) |
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Self-Examination: Expressionism in Austria |
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141 | (4) |
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The Figurative Tradition in Early Twentieth-Century Sculpture |
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145 | (11) |
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A Parallel Medium: The Sculpture of Henri Matisse |
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146 | (2) |
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Developments in Germany: Lehmbruck, Kolbe, Banlach, and Kollwitz |
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148 | (2) |
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Forms of the Essential: Constantin Brancusi |
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150 | (6) |
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156 | (37) |
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Taking Possession: Picasso's Early Career |
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156 | (8) |
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Beyond Fauvism: Braque's Early Career |
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164 | (3) |
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``Two Mountain Climbers Roped Together'': Braque, Picasso, and the Development of Cubism |
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167 | (9) |
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Constructed Spaces: Cubist Sculpture |
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176 | (6) |
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An Adaptable Idiom: Developments in Cubist Painting in Paris |
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182 | (5) |
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Other Agendas: Orphism and Other Experimental Art in Paris, 1910--14 |
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187 | (6) |
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Futurism, Abstraction in Russia, and de Stiil |
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193 | (26) |
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``Running on Shrapnel'': Futurism in Italy |
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193 | (6) |
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A World Ready for Change: Early Abstraction in Russia |
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199 | (7) |
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Utopian Visions: Russian Constructivism |
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206 | (7) |
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Clarity, Certainty, and Order: De Stijl in the Netherlands |
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213 | (6) |
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Early Twentieth-Century Architecture |
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219 | (17) |
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Modernism in Harmony with Nature: Frank Lloyd Wright |
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219 | (4) |
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Temples for the Modern City: American Classicism 1900--15 |
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223 | (1) |
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New Simplicity Versus Art Nouveau: Vienna Before World War I |
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224 | (2) |
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Tradition and Innovation: The German Contribution to Modern Architecture |
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226 | (3) |
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Toward the International Style: The Netherlands and Belgium |
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229 | (5) |
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New Materials, New Visions: France and Italy |
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234 | (2) |
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From fantasy to Dada and the New Objectivity |
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236 | (31) |
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Truth Pursued through the Dreamworld: Chagall and the Metaphysical School |
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236 | (5) |
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The World Turned Upside Down: The Birth of Dada |
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241 | (5) |
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A Further Shore: New York Dada |
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246 | (8) |
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``Art is Dead'': Dada in Germany |
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254 | (5) |
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Idealism and Disgust: The ``New Objectivity'' in Germany |
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259 | (6) |
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Dada Divided: Developments in Paris |
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265 | (2) |
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The School of Paris After World War I |
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267 | (21) |
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Eloquent Figuration: Les Maudits |
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267 | (5) |
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Dedication to Color: Matisse's Later Career |
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272 | (5) |
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Celebrating the Good Life: Dufy's Later Career |
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277 | (1) |
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Eclectic Mastery: Picasso After the High-Point of Cubism |
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278 | (5) |
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Sensuous Analysis: Braque's Later Career |
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283 | (2) |
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Austerity and Elegance: Leger, Ozenfant, and Le Corbusier |
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285 | (3) |
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288 | (41) |
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Breton and the Background to Surrealism |
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288 | (2) |
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``Art is a Fruit'': Arp's Later Career |
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290 | (2) |
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Hybrid Menageries: Ernst's Surrealist Techniques |
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292 | (3) |
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``Night, Music, and Stars'': Miro' and Organic--Abstract Surrealism |
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295 | (3) |
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Methodical Anarchy: Andre Masson |
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298 | (1) |
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Enigmatic Landscapes: Yves Tanguy |
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299 | (2) |
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``A Laboratory for New Ideas'': Surrealism and the Americas |
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301 | (2) |
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``The Association of Delirious Phenomena'': Salvador Dali |
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303 | (4) |
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Three Northern European Surrealists: Magritte, Delvaux, and Bellmer |
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307 | (3) |
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Women and Surrealism: Oppenheim, Tanning, and Carrington |
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310 | (2) |
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Never Quite ``One of Ours'': Picasso and Surrealism |
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312 | (7) |
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Pioneer of a New Iron Age: Julio Gonzalez |
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319 | (1) |
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Surrealism's Sculptural Language: Giacometti's Early Career |
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320 | (2) |
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Bizarre Juxtapositions: Photography and Surrealism |
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322 | (7) |
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Modern Architecture Between the Wars |
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329 | (14) |
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The Building as Entity: The Bauhaus |
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329 | (2) |
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Audacious Lightness: The Architecture of Gropius |
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331 | (2) |
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``Machines for Living'': The International Style |
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333 | (4) |
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A Return to Innovation: Developments in American Architecture |
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337 | (6) |
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International Abstraction Between the Wars |
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343 | (28) |
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``The Core from which Everything Emanates'': International Constructivism and the Bauhaus |
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343 | (13) |
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A Determined Minority: Abstract Artists in Paris |
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356 | (5) |
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American Connections: Mondrian and Calder |
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361 | (4) |
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Responses to International Abstraction: Artists in Britain |
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365 | (6) |
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American Art Before World War II |
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371 | (39) |
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America Undisguised: The Eight and Social Criticism |
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371 | (4) |
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A Rallying Place for Modernism: 291 Gallery and the Stieglitz Circle |
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375 | (8) |
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The Europeans Are Coming: The Armory Show |
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383 | (1) |
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Sharpening the Focus on Color and Form: Synchromism and Precisionism |
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383 | (4) |
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Painting the American Scene: Regionalists and Social Realists |
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387 | (8) |
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Documents of an Era: American Photographers Between the Wars |
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395 | (3) |
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Black History and Modern Painting: Bearden and Lawrence |
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398 | (1) |
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Social Protest and Personal Pain: Mexican Artists |
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399 | (4) |
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The Avant-Garde Advances: Toward American Abstract Art |
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403 | (5) |
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Sculpture in America Between the Wars |
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408 | (2) |
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Abstract Expressionism and the New American Sculpture |
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410 | (36) |
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Entering a New Arena: Modes of Abstract Expressionism |
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410 | (1) |
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The Picture as Event: Experiments in Gestural Painting |
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411 | (12) |
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Complex Simplicities: Color Field Painting |
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423 | (10) |
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Drawing in Steel: Constructed Sculpture |
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433 | (4) |
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Textures of the Surreal: Biomorphic Sculpture and Assemblage |
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437 | (5) |
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Expressive Vision: Developments in American Photography |
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442 | (4) |
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446 | (32) |
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Revaluations and Violations: Figurative Art in France |
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446 | (9) |
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A Different Art: Abstraction in France |
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455 | (6) |
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``Pure Creation'': Concrete Art |
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461 | (1) |
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Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain |
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462 | (5) |
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``Forget It and Start Again'': The CoBrA Artists and Hundertwasser |
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467 | (4) |
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Figures in the Landscape: British Painting and Sculpture |
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471 | (5) |
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Marvels of Daily Life: European Photographers |
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476 | (2) |
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Pop Art and Europe's New Realism |
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478 | (45) |
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``This is Tomorrow'': Pop Art in Britain |
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478 | (4) |
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Signs of the Times: Neo-Dada in the United States |
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482 | (6) |
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Getting Closer to Life: Happenings and Environments |
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488 | (5) |
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``Just Look at the Surface'': The Imagery of Everyday Life |
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493 | (11) |
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Poetics of the ``New Gomorrah'': West Coast Artists |
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504 | (5) |
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``Extroversion is the Rule'': Europe's New Realism |
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509 | (8) |
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Personal Documentaries: The Snapshot Aesthetic in American Photography |
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517 | (6) |
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523 | (38) |
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Drawing the Veil: Post-Painterly Color Field Abstraction |
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523 | (6) |
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At an Oblique Angle: Diebenkorn and Twombly |
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529 | (2) |
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Forming the Unit: Hard-Edge Painting |
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531 | (5) |
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536 | (2) |
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New Media Mobilized: Motion and Light |
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538 | (5) |
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The Limits of Modernism: Minimalist Sculpture and Painting |
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543 | (17) |
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Complex Unities: Photography and Minimalism |
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560 | (1) |
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The Second Wave of International Style Architecture |
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561 | (27) |
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The Avant-Garde Diaspora: Architecture in the 1930s |
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561 | (1) |
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``The Quiet Unbroken Wave'': The Later Work of Wright and Le Corbusier |
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562 | (3) |
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Purity and Proportion: The International Style in America |
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565 | (7) |
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Internationalism Contextualized: Developments in Scandinavia, Europe, Latin America, Asia, and Australia |
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572 | (7) |
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Breaking the Mold: Experimental Housing |
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579 | (3) |
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Arenas for Innovation: Major Public Projects |
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582 | (6) |
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The Pluralistic Seventies |
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588 | (67) |
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Forms of Thought: Conceptual Art |
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589 | (3) |
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Extended Arenas: Performance Art and Video |
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592 | (7) |
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Radical Alternatives: Feminist Art |
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599 | (6) |
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Metaphors for Life: Process Art |
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605 | (7) |
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Big Outdoors: Earthworks and Land Art |
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612 | (9) |
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Visible Statements: Monuments and Public Sculpture |
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621 | (4) |
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Body of Evidence: Figurative Art |
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625 | (9) |
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Constructing Respect: Art and Racial Politics |
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634 | (6) |
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Animated Surfaces: Pattern and Decoration |
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640 | |
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Figure and Ambiguity: New Image Art |
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433 | (222) |
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Postmodernism in Architecture |
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655 | (30) |
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``Complexity and Contradiction'': The Reaction Against Modernism Sets In |
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656 | (2) |
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In Praise of ``Messy Vitality'': Postmodernist Eclecticism |
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658 | (6) |
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Ironic Grandeur: Postmodernism and History |
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664 | (8) |
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What Is a Building?: Deconstruction |
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672 | (3) |
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Structure as Metaphor: Architectural Abstractions |
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675 | (3) |
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Flexible Spaces: Architecture and Urbanism |
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678 | (7) |
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The Retrospective Eighties |
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685 | (45) |
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Codes of Context: Appropriation |
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685 | (8) |
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Primal Passions: Neo-Expressionism |
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693 | (11) |
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The Challenge of Photography in 1980s Art |
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704 | (2) |
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Searing Statements: Expressive (if not Expressionist) Art |
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706 | (3) |
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Wall of Fame: Graffiti and Cartoon Artists |
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709 | (3) |
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Postmodern Arenas: Installation Art |
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712 | (46) |
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In the Empire of Signs: Varieties of Neo-Geo |
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758 | |
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The Sum of Many Parts: Abstraction in the 1980s |
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722 | (4) |
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Strangely Familiar: British and American Sculpture |
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726 | (4) |
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Resistance and Resolution |
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730 | (46) |
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Contested Visions: Art and Politics circa 1990 |
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730 | (2) |
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Mining the Museum: Art and Institutions |
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732 | (4) |
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The Postmodern ``I'': The Artist as Individual |
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736 | (12) |
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The Postmodern ``We'': The Artist and Society |
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748 | (10) |
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Reprise and Reinterpretation: The Art of Art History |
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758 | (2) |
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Considering Nature: New Visions of Landscape |
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760 | (4) |
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Meeting Points: Painting and Sculpture as Social (ized) Spaces |
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764 | (6) |
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The Consequences of Tradition: Pictorialism and Sculpture |
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770 | (3) |
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Think Before You Buy: Art and Cultural Industry |
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773 | (3) |
Bibliography |
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776 | (23) |
Glossary |
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799 | (3) |
Index |
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802 | (24) |
Credits |
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826 | |