Modern Art 1851-1929
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"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
Product Description
The period 1851 to 1929 witnessed the rise of the major European avant-garde groups: the Realists, Impressionists, Post-Impressionists, Symbolists, Cubists, and Surrealists. It was also a time of rapid social, economic, and political change, encompassing a revolution in communication systems and technology, and an unprecedented growth in the availability of printed images. Richard Brettell's innovative account explores the aims and achievements -- the beautiful and the bizarre -- of artists such as Monet, Gauguin, Picasso, and Dali, in relation to urban capitalism and expansion, colonialism, nationalism and internationalism, and the museum. Tracing common themes of representation, imagination, perception, and sexuality across works in a wide range of different media he presents a fresh approach to the fine art and photography of this remarkable era.
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First Sentence
The history of modern art has generally been written as a loosely chronological sequence of movements, most of which were given their current names as they developed. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
The history of modern art has generally been written as a loosely chronological sequence of movements, most of which were given their current names as they developed. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews
7 of 7 people found the following review helpful
Format:Paperback
This volume of the Oxford History of art is a really good introduction to the topic of modern art between 1851 and 1929.
The author's writing style is very clear and lucid, and is very easy to follow as the text is explanatory without being patronizing.
Part I is mostly a chronological survey of the period, with the well-known succession of "-isms".
The following parts develop a thematic/critical approach to the period and expand the meaning introduced by the volume's subtitle "Capitalism and Representation".
Not all illustrations are full colour but most are, and most importantly, pictures are not only - not mainly - of well-known pictures but on valuable pictures of the times to support the explanation.
The author's writing style is very clear and lucid, and is very easy to follow as the text is explanatory without being patronizing.
Part I is mostly a chronological survey of the period, with the well-known succession of "-isms".
The following parts develop a thematic/critical approach to the period and expand the meaning introduced by the volume's subtitle "Capitalism and Representation".
Not all illustrations are full colour but most are, and most importantly, pictures are not only - not mainly - of well-known pictures but on valuable pictures of the times to support the explanation.
2 of 2 people found the following review helpful
Format:Paperback
This book is horrendously written. Reading through its 'spatio-temporal matrices' and 'gigantic and controversial ruminations,' one cannot help feeling like a tired Mayan hacking his way through the primordial jungle of Yucatan. But it's enough to scratch the surface, and little artefacts like 'an historian' and 'gay and queer studies' will point to a desperate provincialism as the source of this linguistic overindulgence. The text is not devoid of thought, if you can hack your way to it, but what a struggle! And I should mention that if you don't hate the word 'discourse' by the time you have finished the book, you have the patience of a saint.
Format:Paperback|Amazon Verified Purchase
I simply could not believe how poor this book was and kept going with it in the hope it would improve, until I hit about p 130 (half way). Then I'd definitely had enough. The previous reviewer is quite right - the language is appalling and conceptually it is no more than an average regurgitation of all the usual arguments about 'the modern' and the nature of modernity. Yes, it is arranged a little differently and has tried to present a thematic as opposed to chronological, 'ism'-based perspective. Unfortunately, however, no clear rationale for this structure emerges; nor does any coherent argument.
Having read this immediately after T J Clark's 'Painting of Modern Life', I can think of no greater contrast. For all its faults, Clark's work is erudite, critically-based and beautifully written. How a respectable academic publisher like OUP comes to publish a text like this (it almost seems to have missed the proof-reading stage!) is quite beyond me. At one point, the author states that the impact of the closure of the Louvre during the First World War was 'in some ways as devastating as the war itself' - what on earth can his understanding of WW1 be! An extraordinary statement, and revelatory of the values underpinning the text. The subtitle mystifies too: this book has little of critical value to say about 'representation' and next to nothing about 'capitalism'.
The best bit about this work - hence the two stars - is the selection and high quality of the images, some of which are extremely interesting and which I have not come across elsewhere. Much could potentially have been done with such exciting material. Utterly disappointing.
Having read this immediately after T J Clark's 'Painting of Modern Life', I can think of no greater contrast. For all its faults, Clark's work is erudite, critically-based and beautifully written. How a respectable academic publisher like OUP comes to publish a text like this (it almost seems to have missed the proof-reading stage!) is quite beyond me. At one point, the author states that the impact of the closure of the Louvre during the First World War was 'in some ways as devastating as the war itself' - what on earth can his understanding of WW1 be! An extraordinary statement, and revelatory of the values underpinning the text. The subtitle mystifies too: this book has little of critical value to say about 'representation' and next to nothing about 'capitalism'.
The best bit about this work - hence the two stars - is the selection and high quality of the images, some of which are extremely interesting and which I have not come across elsewhere. Much could potentially have been done with such exciting material. Utterly disappointing.
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Most Recent Customer Reviews
Very informative
This is a beautiful informative book which is well illustrated. It covers the art movements from realism to surrealism and looks at the social changes and the inpact they had on... Read more
Published 6 months ago by Dianne Forsyth
Modern Art 1851-1929
This is the first book of the series that I've bought, and was pleasantly surprised by it. The writing style is very easy to read, and contains good information over all. Read more
Published 6 months ago by denny
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