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British Art in the Cultural Field, 1939-69 (Art History Special Issues) Paperback – 21 Sep 2012

3.0 out of 5 stars 1 customer review

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Product details

  • Paperback: 278 pages
  • Publisher: Wiley-Blackwell; 1 edition (21 Sept. 2012)
  • Language: English
  • ISBN-10: 1118275845
  • ISBN-13: 978-1118275849
  • Product Dimensions: 21.1 x 1.6 x 27.7 cm
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 620,027 in Books (See Top 100 in Books)
  • See Complete Table of Contents

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Review

“This rich book will enchant art historians, scholars of late modernism, as well as anyone interested in the cultural history of 20th–century Great Britain.”  (Cercles, 1 April 2013)

From the Back Cover

Informed by new research, this rich collection of essays presents a fresh and thought provoking assessment of British Art in the Cultural Field, 1939–69. Locating influential artists, movements, institutions, and works in a changing cultural landscape, international art historians explore many different aspects of a central period in British art history. Paul Nash, in his article ‘Going Modern and Being British’ of 1932, famously sought to reconcile these two seemingly conflicting identities. The post–war cultural scene saw a decisive reconfiguration of ‘Britishness’ and ‘modernity’, following austerity, decolonisation and the rise of American influence. At the same time, British art became part of an increasingly transnational economy. Between 1939 and 1969, ‘modernism’, as it was understood in the twenties and thirties, gave way – at some disputed moment in the 1960s – to ‘late’ or ‘post’ modernism. Addressing the political economy of art at one end of the scale, and offering closely attentive readings of individual works at the other, these thought–provoking essays shed new light on British painting, sculpture, architecture and the institutions of the period – from Schwitters to Bacon, Hamilton, the Independent Group, and Pop Art. Together, they make a major contribution to the latest thinking in the field for students, scholars and collectors of British twentieth–century art.

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thought this was going to be a helpful intervention in an area of british art htat is much neglected, turned out to be very selective and a bit disappointing
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