History of Modern Art (Paper cover)

Elizabeth C. Mansfield is Associate Professor of art history at New York University. A scholar of modern European art and art historiography, her publications include books and articles on topics ranging from the origins of modernism to Picasso’sDemoiselles d’Avignon to the contemporary performance and body art of Orlan. A fellow at the National Humanities Center in 2008-09, she received the College Art Association’s Charles Rufus Morey book award in 2008 for Too Beautiful to Picture: Zeus, Myth, and Mimesis. (http://arthistory.as.nyu.edu/object/ElizabethMansfield.html)   The late H.H. Arnason was a distinguished art historian, educator, and museum administrator who for many years was Vice President for Art Administration of the Solomon Guggenheim Museum in New York. He began his professional life in academia, teaching at Northwestern University, University of Chicago, and the University of Hawaii. From 1947 to 1961, Arnason was Professor and Chairman of the Department of Art at the University of Minnesota.

Foreword: A Short History of History of Modern Art

The Art of Looking

Experience and Interpretation

A Book That Moves with the Times

Preface

What’s New: Chapter-by-chapter revisions

1: The Origins of Modern Art

SOURCE: Théophile Gautier, preface to Mademoiselle de Maupin (1835)

Making Art and Artists: The Role of the Critic

A Marketplace for Art

CONTEXT: Modernity and Modernism the Modern Artist

What Does It Mean to Be an Artist?: From Academic

Emulation toward Romantic Originality

Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism

TECHNIQUE: Printmaking Techniques

History Painting

Landscape Painting

2: The Search for Truth: Early Photography, Realism, and Impressionism

New Ways of Seeing: Photography and its Influence

TECHNIQUE: Daguerreotype versus Calotype

Only the Truth: Realism

France

England

Seizing the Moment: Impressionism and the Avant-Garde

Manet and Whistler

From Realism to Impressionism

Nineteenth-Century Art in the United States

Early American Artists and the Hudson River School

New Styles and Techniques in Later Nineteenth-

SOURCE: Charles Baudelaire, from his “Salon of 1859”

Century American Art

3: Post-Impressionism

The Poetic Science of Color: Seurat and the Neo-Impressionists

Form and Nature: Paul Cézanne

Early Career and Relation to Impressionism

Later Career

The Triumph of Imagination: Symbolism

Reverie and Representation: Moreau, Puvis, and Redon

The Naive Art of Henri Rousseau

An Art Reborn: Rodin and Sculpture at the Fin-de-Siècle

Early Career and The Gates of Hell

The Burghers of Calais and Later Career

Exploring New Possibilities: Claudel and Rosso

Primitivism and the Avant-Garde: Gauguin and Van Gogh

Gauguin

SOURCE: Paul Gauguin, from Noa Noa (1893)

Van Gogh

SOURCE: Vincent van Gogh, from a letter to his brother Theo van Gogh, 6 August 1888

A New Generation of Prophets: The Nabis

Vuillard and Bonnard

Montmartre: At Home with the Avant-Garde

4: The Origins of Modern Architecture and Design

Safeguarding Culture: Revivalist Tendencies in Nineteenth-Century Architecture

American Classicism

European Eclecticism

“A Return to Simplicity”: The Arts and Crafts Movement and Experimental Architecture

Experiments in Synthesis: Modernism beside the Hearth

Palaces of Iron and Glass: The Influence of Industry

SOURCE: Joris-Karl Huysmans, from the review Le Fer, 1889

“Form Follows Function”: The Chicago School and the

Origins of the Skyscraper

SOURCE: Louis Sullivan, “The Tall Office Building Artistically Considered,” 1896

5: Art Nouveau and the Beginnings of Expressionism

With Beauty at the Reins of Industry: Aestheticism and Art Nouveau

Natural Forms for the Machine Age: The Art Nouveau

Aesthetic

Painting and Graphic Art

SOURCE: Sigmund Freud, from The Interpretation of Dreams, 1899

Architecture and Design

Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France

Scandinavia

Northern and Central Europe

6: The New Century: Experiments in Color and Form

Fauvism

“Purity of Means” in Practice: Henri Matisse’s Early Career

Earliest Works

Matisse’s Fauve Period

SOURCE: Charles Baudelaire, Invitation to the Voyage, 1857

The Influence of African Art

“Wild Beasts” Tamed: Derain, Vlaminck, and Dufy

Religious Art for a Modern Age: Georges Rouault

The Belle Époque on Film: the Lumière Brothers and Lartigue

CONTEXT: Early Motion Pictures

Modernism on a Grand Scale: Matisse’s Art after Fauvism

Forms of the Essential: Constantin Brancusi

7: Expressionism in Germany

From Romanticism to Expressionism: Corinth and Modersohn-Becker

SOURCE: Paula Modersohn-Becker, Letters and journal

Spanning the Divide between Romanticism and Expressionism: Die Brücke

Kirchner

TECHNIQUE: Woodcuts and Woodblock Prints

Nolde

Heckel, Müller, Pechstein, and Schmidt-Rottluff

Die Brücke’s Collapse

The Spiritual Dimension: Der Blaue Reiter

Kandinsky

Münter

Werefkin

Marc

Macke

Jawlensky

Klee

Feininger

Expressionist Sculpture

Self-Examination: Expressionism in Austria

Schiele

Kokoschka

CONTEXT: The German Empire

8: Cubism

Immersed in Tradition: Picasso’s Early Career

Barcelona and Madrid

Blue and Rose Periods

CONTEXT: Women as Patrons of the Avant-Garde

Les Demoiselles d’Avignon

Beyond Fauvism: Braque’s Early Career

“Two Mountain Climbers Roped Together”: Braque, Picasso, and the Development of Cubism

“Analytic Cubism,” 1909—11

“Synthetic Cubism,” 1912—14

TECHNIQUE: Collage

Constructed Spaces: Cubist Sculpture

Braque and Picasso

Archipenko

Duchamp-Villon

Lipchitz

Laurens

An Adaptable Idiom: Developments in Cubist Painting in Paris

Gris

Gleizes and Metzinger

Léger

Other Agendas: Orphism and Other Experimental Art in Paris, 1910—14

Duchamp

9: Early Twentieth-Century Architecture

Modernism in Harmony with Nature: Frank Lloyd

Wright

Early Houses

The Larkin Building

Mid-Career Crisis

Temples for the Modern City: American Classicism 1900—15

New Simplicity Versus Art Nouveau: Vienna Before World War I

Tradition and Innovation: The German Contribution to Modern Architecture

Behrens and Industrial Design

CONTEXT: The Human Machine: Modern Workspaces

Expressionism in Architecture

Toward the International Style: The Netherlands and Belgium

Berlage and Van de Velde

New Materials, New Visions: France in the Early

Twentieth Century

TECHNIQUE: Modern Materials

10: European Responses to Cubism

Fantasy Through Abstraction: Chagall and the Metaphysical School

Chagall

De Chirico and the Metaphysical School

“Running on Shrapnel”: Futurism in Italy

SOURCE: Filippo Tommaso Marinetti, from The Founding and Manifesto of Futurism

Balla

Bragaglia

Severini

Carrà

Boccioni

Sant’Elia

”Our Vortex is Not Afraid:” Wyndham Lewis and Vorticism

CONTEXT: The Omega Workshops

A World Ready for Change: The Avant-Garde in Russia

Larionov, Goncharova, and Rayonism

Popova and Cubo-Futurism

Malevich and Suprematism

El Lissitzky’s Prouns

TECHNIQUE: Axonometry

Kandinsky in the Early Soviet Period

Utopian Visions: Russian Constructivism

Innovations in Sculpture

Tatlin

Rodchenko

Stepanova and Rozanova

Pevsner, Gabo, and the Spread of Constructivism

11: Picturing the Wasteland: Western Europe during World War I

CONTEXT: The Art of Facial Prosthetics

The World Turned Upside Down: The Birth of Dada

The Cabaret Voltaire and Its Legacy

Arp

“Her Plumbing and Her Bridges”: Dada Comes to America

Duchamp’s Early Career

SOURCE: Anonymous (Marcel Duchamp), “The Richard Mutt Case”

Duchamp’s Later Career

Picabia

Man Ray and the American Avant-Garde

“Art is Dead”: Dada in Germany

Hausmann, Höch, and Heartfield

Schwitters

Ernst

Idealism and Disgust: The “New Objectivity” in Germany

Grosz

Dix

The Photography of Sander and Renger-Patzsch Beckmann

CONTEXT: Degenerate Art

12: Art in France after World War I

Eloquent Figuration: Les Maudits

Modigliani

Soutine

Utrillo

Dedication to Color: Matisse’s Later Career

Response to Cubism, 1914—16

Renewal of Coloristic Idiom, 1917—c. 1930

An Art of Essentials, c. 1930—54

CONTEXT: Matisse in Merion, Pennsylvania

Celebrating the Good Life: Dufy’s Later Career

Eclectic Mastery: Picasso’s Career after the War

Parade and Theatrical Themes

CONTEXT: Diaghilev’s Ballets Russes

Postwar Classicism

Cubism Continued

Sensuous Analysis: Braque’s Later Career

Austerity and Elegance: Léger, Le Corbusier, and Ozenfant

13: Clarity, Certainty, and Order: de Stijl and the Pursuit of Geometric Abstraction

The de Stijl Idea

SOURCE: De Stijl “Manifesto 1” (1918, published in de Stijl in 1922)

Mondrian: Seeking the Spiritual Through the Rational

Early Work

Neoplasticism

The Break with de Stijl

Van Doesburg, de Stijl, and Elementarism

De Stijl Realized: Sculpture and Architecture

Vantongerloo

Van ’t Hoff and Oud

Rietveld

Van Eesteren

14: Bauhaus and the Teaching of Modernism

Audacious Lightness: The Architecture of Gropius

The Building as Entity: The Bauhaus

SOURCE: Walter Gropius, from Bauhaus Manifesto (1919)

Bauhaus Dessau

The Vorkurs: Basis of the Bauhaus Curriculum

Moholy-Nagy

Josef Albers

Klee

Kandinsky

Die Werkmeistern: Craft Masters at the Bauhaus

Schlemmer

Stölzl

Breuer and Bayer

TECHNIQUE: Industry into Art into Industry

“The Core from which Everything Emanates”: International Constructivism and the Bauhaus

Gabo

Pevsner

Baumeister

From Bauhaus Dessau to Bauhaus U.S.A.

Mies van der Rohe

Bauhaus U.S.A.

15: Surrealism and Its Discontents

CONTEXT: Fetishism

Breton and the Background to Surrealism

The Two Strands of Surrealism

Political Context and Membership

CONTEXT: Trotsky and International Socialism between the Wars

“Art is a Fruit”: Arp’s Later Career

Hybrid Menageries: Ernst’s Surrealist Techniques

“Night, Music, and Stars”: Miró and Organic–Abstract

Surrealism

Methodical Anarchy: André Masson

Enigmatic Landscapes: Tanguy and Dalí

Dalí

SOURCE: Georges Bataille, from The Cruel Practice of Art (1949)

Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam

Matta and Lam

Women and Surrealism: Oppenheim, Cahun, Tanning, and Carrington

Never Quite “One of Ours”: Picasso and Surrealism

Painting and Graphic Art, mid-1920s to 1930s

Guernica and Related Works

Sculpture, late 1920s to 1940s

Pioneer of a New Iron Age: Julio González

Surrealism’s Sculptural Language: Giacometti’s Early Career

Surrealist Sculpture in Britain: Moore

Bizarre Juxtapositions: Photography and Surrealism

Atget’s Paris

Man Ray, Kertész, Tabard, and the Manipulated Image

The Development of Photojournalism: Brassaï, Bravo, Model, and Cartier-Bresson

An English Perspective: Brandt

16: American Art Before World War II

America Undisguised: The Eight and Social Criticism

Henri, Sloan, Prendergast, and Bellows

SOURCE: Walt Whitman, first stanza of Crossing Brooklyn Ferry (1856)

Two Photographers: Riis and Hine Brooks

A Rallying Place for Modernism: 291 Gallery and the

Stieglitz Circle

Stieglitz and Steichen

TECHNIQUE: Style through Medium, Photogravure and Gelatin-Silver Prints

Weber, Hartley, Marin, and Dove

O’Keeffe

Straight Photography: Strand, Cunningham, and Adams

Coming to America: The Armory Show

Sharpening the Focus on Color and Form: Synchromism and Precisionism

Synchromism

Precisionism

The Harlem Renaissance

Painting the American Scene: Regionalists and Social

Realists

Benton, Wood, Hopper

Grandma Moses and Horace Pippin

Bishop, Shahn and Blume

CONTEXT: The Sacco and Vanzetti Trial

Documents of an Era: American Photographers Between the Wars

Social Protest and Personal Pain: Mexican Artists

Rivera

Orozco

Siqueiros

Kahlo

Tamayo

Modotti’s Photography in Mexico

The Avant-Garde Advances: Toward American Abstract Art

Exhibitions and Contact with Europe

Davis

Diller and Pereira

Avery and Tack

Sculpture in America Between the Wars

Lachaise and Nadelman

Storrs and Roszak

Calder

17: Abstract Expressionism and the New American Sculpture

CONTEXT: Artists and Cultural Activism

Mondrian in New York: The Tempo of the Metropolis

Entering a New Arena: Modes of Abstract Expressionism

SOURCE: Clement Greenberg, from Modernist Painting (first published in 1960)

The Picture as Event: Experiments in Gestural Painting

Hofmann

Gorky

Willem de Kooning

Pollock

SOURCE: Harold Rosenberg, from The American Action Painters (first published in 1952)

Krasner

Kline

Tomlin and Tobey

Guston

Elaine de Kooning and Grace Hartigan

Complex Simplicities: Color Field Painting

Rothko

Newman

Still

Reinhardt

Gottlieb

Motherwell

Baziotes

Drawing in Steel: Constructed Sculpture

Smith and Dehner

Di Suvero and Chamberlain

Textures of the Surreal: Biomorphic Sculpture and Assemblage

Noguchi

Bourgeois

Cornell

Nevelson

Expressive Vision: Developments in American Photography

Capa and Miller

White, Siskind, Porter, and Callahan

Levitt and DeCarava

18: Postwar European Art

CONTEXT: Samuel Beckett and the Theatre of the Absurd

Revaluations and Violations: Figurative Art in France

Picasso

Giacometti

Richier

Balthus

Dubuffet

A Different Art: Abstraction in France

Fautrier, Van Velde, Hartung, and Soulages

Wols, Mathieu, Riopelle, and Vieira da Silva

De Staël

“Pure Creation”: Concrete Art

Bill and Lohse

Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain

Morandi

Marini and Manzù

Afro

Fontana

SOURCE: Lucio Fontana, from The White Manifesto (1946)

Burri

Tàpies

“Forget It and Start Again”: The CoBrA Artists and Hundertwasser

Jorn

Appel

Alechinsky

Hundertwasser

Figures in the Landscape: British Painting and Sculpture

Bacon

Sutherland

Freud

Moore

Hepworth

Marvels of Daily Life: European Photographers

Bischof

Sudek

Doisneau

19: Nouveau Réalisme and Pop Art

CONTEXT: The Marshall Plan and the “Marilyn Monroe Doctrine”

“Extroversion is the Rule”: Europe’s New Realism

Klein

Tinguely and Saint-Phalle

Arman

César

Raysse

Christo and Jeanne-Claude

Rotella, Manzoni and Broodthaers

“This is Tomorrow”: Pop Art in Britain

Hamilton and Paolozzi

Blake and Kitaj

Hockney

Signs of the Times: Pop Art in the United States

Rauschenberg

Johns

Getting Closer to Life: Happenings and Environments

Kaprow, Grooms, and Early Happenings

Segal

Oldenburg

“Just Look at the Surface”: The Imagery of Everyday Life

Dine

Samaras and Artschwager

Rivers

Lichtenstein

Warhol

TECHNIQUE: Screenprinting

Rosenquist, Wesselmann, and Indiana Lindner, Marisol, Sister Corita

Poetics of the “New Gomorrah”: West Coast Artists

Thiebaud

Kienholz

Jess

Ruscha

Jiménez

Personal Documentaries: The Snapshot Aesthetic in

American Photography

20: Playing by the Rules: Sixties Abstraction

Drawing the Veil: Post Painterly Abstraction

SOURCE: Clement Greenberg, from Post Painterly Abstraction (1964)

Francis and Mitchell

Frankenthaler, Louis, and Olitski

Poons

At an Oblique Angle: Diebenkorn and Twombly

Forming the Unit: Hard-Edge Painting

Seeing Things: Op Art

Vasarely

Riley and Anuszkiewicz

New Media Mobilized: Motion and Light

Mobiles and Kinetic Art

Artists Working with Light

The Limits of Modernism: Minimalism

Caro

Stella

Smith, Judd, Bladen, and Morris

SOURCE: Tony Smith, from a 1966 Interview in Artforum

LeWitt, Andre, and Serra

TECHNIQUE: Minimalist Materials: Cor-Ten Steel

Minimalist Painters

Complex Unities: Photography and Minimalism

21: Modernism in Architecture at Mid-Century

“The Quiet Unbroken Wave”: The Later Work of Wright and Le Corbusier

Wright During the 1930s

Le Corbusier

Purity and Proportion: The International Style in America

The Influence of Gropius and Mies van der Rohe

Skyscrapers

Domestic Architecture

Internationalism Contextualized: Developments in Europe, Latin America, Asia, and Australia

Finland

Great Britain

France

Germany and Italy

Latin America, Australia, and Japan

Breaking the Mold: Experimental Housing

CONTEXT: Women in Architecture

Arenas for Innovation: Major Public Projects

Cultural Centers, Theaters, and Museums in America

Urban Planning and Airports

Architecture and Engineering

TECHNIQUE: The Dymaxion House

22: Conceptualism and Activist Art

Art as Language

Art & Language, Kosuth

CONTEXT: Semiotics

Weiner, Huebler, Barry

Keeping Time: Baldessari, Kawara, Darboven

Conceptual Art as Cultural Critique

Haacke, Asher

Lawler, Wilson

Buren

Extended Arenas: Performance Art and Video

Fluxus

CONTEXT: The Situationists

Beuys

The Medium Is the Message: Early Video Art

Paik

Nauman

Campus’ Video Art

When Art Becomes Artist: Body Art

Schneemann, Wilke

Mendieta

Acconci

Burden

Gilbert and George, Anderson, and Horn

Radical Alternatives: Feminist Art

The Feminist Arts Program

Erasing the Boundaries between Art and Life: Later

Feminist Art

Kelly

Guerrilla Girls

Antoni

Invisible to Visible: Art and Racial Politics

OBAC, Afri-COBRA, and SPARC

Ringgold and Folk Traditions

Social and Political Critique: Hammons, Colescott

The Concept of Race: Piper

23: Post-Minimalism

Big Outdoors: Earthworks and Land Art

CONTEXT: Environmentalism

Monumental Works

SOURCE: Robert Smithson, from “Cultural Confinement,” originally published in Artforum (1972)

Landscape as Experience

Abakanowicz’s Site-Specific Sculpture

Visible Statements: Monuments and Public Sculpture

Metaphors for Life: Process Art

Arte Povera: Merz, Kounellis

Body of Evidence: Figurative Art

Traditional Realism

Photorealism

Hanson’s Superrealist Sculpture

Stylized Naturalism

Animated Surfaces: Pattern and Decoration

Figure and Ambiguity: New Image Art

Rothenberg and Moskowitz

Sultan and Jenney

Borofsky and Bartlett

Chicago Imagists: Nutt and Paschke

Steir

New Image Sculptors: Shapiro and Flanagan

24: Postmodernism

CONTEXT: Poststructuralism

Postmodernism in Architecture

“Complexity and Contradiction”: The Reaction Against

Modernism Sets In

SOURCE: Robert Venturi, Denise Scott Brown, and Steven Izenour, from Learning from Las Vegas (1972)

In Praise of “Messy Vitality”: Postmodernist Eclecticism

Venturi, Rauch, and Scott Brown, and Moore

Hollein, Stern, and Isozaki

Ironic Grandeur: Postmodern Architecture and History

Johnson

Stirling, Jahn, Armajani, and Foster

Pei and Freed

Ando and Pelli

What Is a Building?: Deconstruction

CONTEXT: Deconstruction versus Deconstructivism

Structure as Metaphor: Architectural Abstractions

Flexible Spaces: Architecture and Urbanism

Plater-Zyberk and Duany

Koolhaas and the OMA

Postmodern Practices: Breaking Art History

Appropriation: Kruger, Levine, Prince, and Sherman

Kruger

Holzer, McCollum, and Tansey

25: Painting through History

Primal Passions: Neo-Expressionism

German Neo-Expressionism: Baselitz, Lüpertz, Penck, and Immendorff

Polke, Richter, and Kiefer

SOURCE: Gerhard Richter, from “Notes 1964–1965”

Italian Neo-Expressionism: Clemente, Chia, and Cucchi

TECHNIQUE: Choosing Media

American Neo-Expressionism: Schnabel, Salle, and Fischl

Regarding Representation: Painting and Photography in the 1980s

Longo

The Starns

Gilbert and George

Searing Statements: Painting as Social Conscience

Golub and Spero

Coe and Applebroog

In the Empire of Signs: Neo-Geo

Neo-Geo Abstraction: Halley and Bleckner

The Sum of Many Parts: Abstraction in the 1980s

Murray

Winters

Taaffe

Scully

Wall of Fame: Graffiti and Cartoon Artists

Haring, Basquiat

Wojnarowicz and Wong

Rollins and KOS

Painting Art History

Currin, Yuskavage

26: Contemporary Art and the Renegotiation of Modernism

CONTEXT: National Endowment for the Arts

CONTEXT: International Art Exhibitions

Commodity Art

Postmodern Arenas: Installation Art

CoLab, Ahearn, Osorio

Kabakov

Viola

Strangely Familiar: British and American Sculpture

Reprise and Reinterpretation: Art History as Art

Meeting Points: Exploring a Postmodern Abstraction

27: Contemporary Art and Globalization

CONTEXT: Modern Art Exhibitions and Postcolonialism

Lines That Define Us: Locating and Crossing Borders

Art and the Expression of Culture

Growing into Identity

Identity as Place

Skin Deep: Identity and the Body

Body as Self

Filming the Body

The Absent Body

The Art of Biography

Globalization and Arts Institutions

Interventions in the Global Museum

Designing a Global Museum

CONTEXT: Avant-tainment

CONTEXT: Pritzker Prize

 

Glossary

Index